Helen Campbell.

The American girl's home book of work and play online

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was stole away.

My mother she fell sick, my Jamie at the sea; Turns towards her MOTHER.

And Auld Robin Gray came a courtin' to me. ROBIN GRAY enters, L. or C., kneels to

JEANNIE, and takes her right hand;' she

turns away in disgust, and looks down.

My father could not work, my mother could ROBIN GRAY points to each ; JEANNIE sadly

not spin, watches his motions.

I toiled day and night; but their bread I could JEANNIE spins at wheel, C.

not win.
Auld Rob maintained them baith, and with RODIN kneels, and implores with tears.

tears in his e'e,
Said, " Jeannie, for their sakes, oh, pray, marry JEANNIE turns away as he takes her hand.

My father urged me sair; my mother did na' JEANNIE is led by Robin across to her par-

speak, ents, and kneels with her hands across

her MOTHER'S lap.
But she looked in my face till my heart was MOTHER regards JEANNIE earnestly as she

like to break: kneels before her, R.

So they gied him my hand, though my heart ROBIN crosses from C. to R., takes JEANNIE'S

was on the sea,
And Auld Robin Gray was a gude man to me.

hand from MOTHER.

ROBIN leads JEANNIE to C., and draws her
hand through his arm, looking fondly
at JEANNIE, who looks sadly down.

[Curtain falls.

SCENE III. JEANNIE discovered sitting at door, very sad.

I had na' been his wife but weeks only four,
When, sitting so mournfully at my own door,

She slowly lifts her head from her hand.

1 saw my Jamie's ghost; for I could not think JAMIE enters, L.; JEANNIE, in fright, motions

it he,

him away.

Till he said, " I've come home, love, to marry They rush into each other's arms.

Oh ! sair did we greet, and mickle did we say; They bow their heads, then lift their heads,

as if conversing.
We took na' kiss at all, I bid him gang away; JEANNIE pushing him away, exit JAMIE

sadly, L.

For I will do my best a good wife for to be, JEANNIE comes forward, extends her hands.

For Auld Robin Gray is very kind to me. Sinks back into her seat, bowed with sorrow.

[Curtain falls.



SCENE IV. ROBIN at C., in arm-chair, propped up by cushions or pillows.

JEANNIE bends over him, R.

The nights were long and sad, the days were

dull and wae;
But that which grieved the most was Auld

Robin Gray.
He sickened day by day, and nothing would he

But said, " Though I am like to die, 'tis better

for her sake.
Is Jamie come?" he said; and Jamie by us

" I've wronged you sair," he said, " now let me

do some good.
I give you all, young man, my houses and my

And the good wife herself, who should not have

been mine."
We kissed his clay-cold hands, a smile came

o'er his face.
Said Jamie, " He is pardoned before the throne

of grace.
O Jeannie, see that smile ! forgiven I'm sure is

Who could resist temptation while hoping to

win thee ? "

JEANNIE smooths his hair from his forehead

JEANNIE passes cup from table, R., which he

JEANNIE kneels for the old man's blessing.

JAMIE enters, L.

ROBIN grasps JAMIE'S hands.

JAMIE kneels, L., and ROBIN points off, L.

JEANNIE kneels ; he joins their hands ; they
bow their heads for his blessing.

They rise, lift his hands to their lips, and
then suffer them to drop heavily.

JAMIE points up, L., one hand on arm of


ROBIN falls back in death.

JEANNIE kneels, R. ; JAMIE points up, L.

[Curtain falls.




THE BRIDE. White dress and veil, wreath, also a faded wreath.

LOVELL. Knee-breeches of white paper-cambric, coat faced with same, ruffled shirt, white
cravat, white wig and beard for last scenes.

FOUR^ENTLEMEN^BOYS, | """ LovELL ' excepting bright-colored breeches and facings.

FOUR LADIES or GIRLS. Silk train-dresses, powdered hair.

THE BARONESS. Black dress in same style.

Six LITTLE CHILDREN in ordinary dress.

PROPERTIES. One table, one chair, two boxes. Front, side, and lid of chest four feet and
a half long, two feet and a half high. The lid is hinged, as usual, to the back ; the four
sides of the chest are not nailed together, but merely held together by hooks and eyes at
each corner inside. The sides must be unhooked for the last scene to allow the chest to
fall to pieces.

At rise of curtain the bride and Lovell stand in centre
of stage, at back ; the baron and baroness, at the left hand of
Lovell. The others stand in two lines at side, gentlemen


at right hand of partners. They dance as follows : head
couple forward and back ; sides forward and back twice, and
bow ; grand right and left. The pianist must play the
melody ; and, as the bride and Lovell meet at head of the
stage, the singer must twice sing the chorus, " Oh the Mis-
tletoe-Bough !" At the word "bough," the couples join
right hands, and bow first to partner, then to opposites, in
exact time with music. The song then begins, the same
dance coming in as marked.

The mistletoe hung in the castle-hall, LOVELL leads his BRIDE forward, and points

The holly branch shone on the old oak wall, They go backward to place, he points to sides

of stage.

And the baron's retainers were blithe and gay,
And keeping their Christmas holiday. Sides forward and back, bow, and begin the

dance, which goes on as above.


The baron beheld with a father's pride LOVELL leads BRIDE to BARON, who salutes

His beautiful child, young Lovell's bride; her; he then leads her to centre of stage,

While she with her bright eyes seemed to be and puts a ring upon her finger.

The star of the goodly company.

They look tenderly at each other, and re-
main in centre, hand in hand, until
chorus, when they bow, first to each
CHORUS. other, then to sides.

Oh the mistletoe-bough ! All bow as before.

Oh the mistletoe-bough !


" I'm weary of dancing now," she cried : BRIDE comes forward, stretches out her

" Here tarry a moment, I'll hide, I'll hide! hands wearily, places left hand on Lov-

And, Lovell, be sure thou'rt the first to trace ELL'S shoulder, who also comes forward;

she points over her shoulder, and runs

The clew to my secret lurking-place." off, R. Dancers cross, and go out.
Away she ran, and her friends began

Each tower to search, and each nook to scan; LOVELL expresses despair. BARONESS comes

And young Lovell cried, " Oh! where dostthou forward, places her right hand on his

hide? shoulder. They salute each other, then

I'm lonesome without thee, my own dear bow to audience at chorus.


Oh the mistletoe-bough ! [Curtain falls.

SCENE \\.-Chest, C.; table tipped over, R.: chair on floor, L. The melody is played.
BRIDE enters hastily ; first hides behind the table, then decides to enter chest, draws up
chair, and steps in. The chorus is then sung, and the BRIDE lets the lid fall heavily
at last note.



They sought that night, and they sought her

next day,
And they sought her in vain when a week

passed away.

In the highest, the lowest, the loneliest spot
Young Lovell sought wildly, but found her not.

The dancers enter slowly, pause a moment^
then cross, and exit.

[Curtain Jails.

SCENE III. CHILDREN are playing Thread-the-Needle, in time to the melody; they
suddenly, two of them point to right of stage.

And years flew by, and their grief at last

LOVELL appears, R., dressed as an old man,
and crosses the stage slowly.

Was told as a sorrowful tale long past;
And, when Lovell appeared, the children cried,
" See! the old man weeps for his fairy bride."
Oh the mistletoe-bough !

He bows his head, and weeps, then salutes
the CHILDREN, who bow to him, and then
to audience.

[Curtain falls.

SCENE IV. Same as SCENE III., except that the chest is unhooked at corners, and the
faded wreath inside.

At length an oak chest that had long lain hid
Was found in the castle; they raised the lid,
And a skeleton form lay mouldering there
In the bridal wreath of the lady fair.
Oh, sad was her fate ! in sportive jest
She hid from her lord in the old oak chest;
It closed with a spring, and her bridal bloom
Lay withering there in a living tomb.
Oh the mistletoe-bough !

Old man slowly enters, and attempts to
raise the lid; ptishes the right corner,
and chest falls. He holds ^^p the wreath
with trembling fingers. Gazes with
horror on the chest. Turns to audi-
ence, and points towards it. He kneels,
and at last note of chorus falls on ruins
of the chest.

[ Cu rtain falls,


An Illustrated Ballad, to be performed by Children from Eight to Twelve

Years Old.


PARENT. Top-boots, knee-breeches, swallow-tail coat, ruffled shirt, white cravat, pow-

dered hair.

VILLIKINS. White pantaloons, swallow-tailed coat, ruffled shirt, fancy tie, curled hair.
DINIAH. Train-dress, bright overskirt, hat, large waterfall, Grecian bend.
PROPERTIES. Two sheets, letter, bottle, carpet-bag, money.

NOTE. Swallow-tail coats are easily made by sewing tails on to the boys' jackets; the ruffles
are made of paper. The girl can wear a long dress tucked up over her own. The sheets are
placed over the heads, leaving only the face exposed. They hold the sheet under their chins \ i;h
left hands, and point with the right. Where a trap-door is available, they fall into and rise up iron


(A concealed singer begins song' as curtain rises.)



There was a rich merchant in London did


Who had for a daughter a very fine girl;
Her name it was Diniah, just sixteen years old,
With a very large fortune in silver and gold.


Sing tural li lural li lural li la,
Sing tural li lural li lural li la,
Sing tural li lural li lural li la,
Sing tural li lural li lural li la.

As Diniah was walking the garden one day,

Her father came to her, and thus did he say,
" Go dress yourself, Diniah, in gorgeous array,
And I'll bring you a husband both gallant and



"O papa, dear papa! I've not made up my

To marry just yet I do not feel inclined;

And all my large fortune I'll gladly give o'er
If you'll let me be single a year or two more."


" Go, go, boldest daughter ! " the parent replied.

" If you do not consent to be this young man's

I'll give your large fortune to the nearest of kin,

And you sh'an't reap the benefit of one single

As Villikins was walking the garden around,
He spied his dear Diniah lying dead on the

With a cup of cold pison lying down by her


And a billet-doux, saying by pison she died.

PARENT bows low to audience,

PARENT /0z*& with left hand.
PARENT spreads both hands in ecstasy.
PARENT rattles money in his pockets.

PARENT dances, in time to music, forward.
PARENT dances, in time to music, backward,
PARENT dances, in time to music, forward.
PARENT dances, in time to music, backward,

and bows at last note.
DINIAH enters, and courtesies to PARENT,

who bows in time.
PARENT approaches her, and moves head

and hand as if speaking.
PARENT points to DINIAH'S dress, who takes

it in her hands, and looks ttpon it.
DINIAH puts finger in her mouth, and turns

head away.
Both dance forward and backward together

at each line, and bow at end.
DINIAH puts right hand on PARENT'S left

DINIAH places left hand coaxin'gly nnder his

DINIAH turns to left, moves both hands as zf

throwing away her money.
DINIAH looks at him imploringly, and coaxes

him as before.
Both dance forward and backward, and

bow in time, as before.
PARENT shakes his head and fist -very

DINIAH kneels down, and cries.

PARENT makes motions as if throwing away

money; takes large pin from his 'coat.
DINIAH wrings her hands, and weeps,

Sung and danced as before.

[Curtain falls.

VILLIKINS enters, discovers DINIAH lying,
C., with bottle and letter; he jumps,
throws up his hands in horror.

VILLIKINS picks up bottle, and smells it.

Reads letter in amazement,
VILLIKINS dances forward and backward,
looking first at letter in his left hand,



He kissed her cold corpus a hundred times o'er.

And called her his Diniah, though she was no

more ;
Then he swallowed the pison like a lover so

And Villikins and his Diniah both lay in one




At twelve next night, by a tall poplar-tree
The ghosts of his children the parent did see,

Standing close to each other, and both looking

Saying, " We should be both living if it was
not for you."


Now the parent was struck with a horror of

So he packed his portmanteau, the world over

to roam.
But he had not gone far, when he was seized

with a shiver
Which ended his days, so finished him forever.


then at bottle in his right, extending
each hand in turn, bows at last note.

VILLIKINS kneels down behind DINIAH, bends
over her, and pretends to kiss her.

Wrings her hands.

Drinks from bottle.

Falls behind DINIAH at last note.

No dance.

[Curtain falls.

PARENT enters, discovers the lovers stand-
ing at back of stage, dressed in sheets,
like ghosts. He jumps, looks first over
his left shoulder at them, then over his
right shoulder, and continues this mo-
tion through rest of verse and chorus.

Ghosts dance forward and back, as before,
following PARENT. A II bow.

PARENT goes off, L.,for his carpet-bag.
He packs his clothes.

Suddenly turns his head, sees ghosts, and
shivers faster and faster until he drops,

Ghosts dance around PARENT, DINIAH first.
Both bow. [Curtain falls.

As will be easily seen, there is no limit in the choice of
illustrated ballads. One which has never been used, and
which Cruikshank illustrated many years ago, is the ballad
of Earl Bateman.

" Earl Bateman was a noble lord ;
A noble lord he was, of high degree ;
And he determined to go abroad,
To go abroad strange countries for to see."

The illustrations will furnish the necessary hints for cos-
tumes, and the ballad may better be sung than said, as the
air is in the minors, a quaint and rather pathetic tune,
which any one who has seen " Rosedale " played will at


once recall. Where an entire poem cannot be used, pictur-
esque passages can often be taken ; and there is hardly any
form of parlor entertainment that gives a better result for
the amount of trouble expended.


A burlesque performance of Campbell's ballad is very
simple to prepare, and very effective for children to act.

The descriptive part of the poem must be read aloud
slowly and distinctly ; but each actor speaks his own part.
It is much easier for children to act when they have some-
thing to say than to accompany the reading entirely in dumb

The necessary properties are a large sheet and a common
wash-tub. The tub is placed in the middle of the cotton
lake as a boat. Four people shake the sheet at the corners
to make waves.


LORD ULLJN. Short plaid skirt, or shawl pinned around his waist as skirt. Plaid shawl
fastened in Highland fashion on the shoulder. Tin pail on his head as helmet. Old-
fashioned carpet-bag in one hand. Big silk or red-cotton handkerchief in pocket. He
rides in on a broomstick, followed by one, two, or more armed men, who are dressed in
the same way, and carry toy-guns, bows, or sticks for arms. If there are no boys in the
company, these parts can easily be taken by girls. It is quite effective to have LORD
ULLIN very tall, and the armed men tiny children.

CHIBFTAIN. Dressed in the same fashion, but wearing plaid of a different color, to show
that he belongs to another clan. His stockings must be long and bright-colored. In-
stead of a helmet, he wears a cap or soft hat with a long feather He carries a toy-gun
or bow in one hand, while with the other he supports his bride. A girl can of course
take this part.

LORD ULLIN'S DAUGHTER. White dress and bridal veil, with plaid sash. Her chieftain
may carry a plaid for her on his arm. Veil can be made of mosquito-netting.

BOATMAN. Big rubber coat, rubber hat or old felt hat, rubber boots Stick, oar, or cro-
quet-mallet , for paddle . A small child can take this part effectively.

The scene opens with the boatman sitting on the edge of the tub, with pipe in mouth. He looks
up at the sky, shakes his head ominously, and whistles, holding pipe in hand. He may be alone oa
tk stage for a minute or two before the reader begins.


READER. {Chieftain and bride rush in from lack of stage, looking back in a fright

ened manner.')

A chieftain, to the Highlands bound,

Cries, " Boatman, do not tarry !
And I'll give thee a silver pound

To row us o'er the ferry."

BOATMAN {-without rising, staring at them, points to the lake, which must be wavtd
harder and harder).

" Now who be ye would cross Lochgyle,
This dark and stormy water ? "

CHIEFTAIN {with a gesture and loving look to his bride. She clings closer to him, looks
back frightened, and at the end of his speech falls half fainting into his arms).

" Oh ! I'm the chief of Ulva's isle,

And this Lord Ullin's daughter.
And fast before her father's men,

Three days we've fled together;
For should he find us in the glen,

My blood would stain the heather.
His horsemen hard behind us ride :

Should they our steps discover,
Then who will cheer my bonny bride

When they have slain her lover ?


Out spoke the hardy Highland wight :

BOATMAN (rises, brings board or small step-ladder from the side of stage, places it against
edge of tub, and assists lady into tub. He points to the waves, and starts to bring the
steps just at the end of his speeech. A pause is nearly always effective. The chieftain
follows his bride into the tub, and sits close to his bride. The boatman sits on the edge,
and paddles).

" I'll go, my chief I'm ready :
It is not for your silver bright,

But for your winsome lady : [Bride courtesies

And by my word the bonny bird

In danger shall not tarry !
So, though the waves be raging white,

I'll row you o'er the ferry."

[The chieftain offers a silver pound, made of cardboard and silver Paper,
and marked r, in black letters. It can be as large as a dinner-plate.
The boatman refuses it. The lady takes it, and presses it upon tht
boatman, who receives the silver, and then tosses it into the lake.



By this the storm grew loud apace,

The water-wraith was shrieking;
And in the scowl of heaven each face

Grew dark as they were speaking.

(.Thunder can be made by rattling coal or wood outside. The armed men must stamp.
The gas can be turned down.)

But still, as wilder blew the wind,

And as the night grew drearer,
Adown the glen rode armed men,

Their trampling sounded nearer.

BRIDE (looking imploringly at the boatman, and then joints at the skfl.

" Oh, haste thee, haste ! " the lady cries :

" Though tempests round us gather !
I'll meet the raging of the skies,

But not an angry father."


The boat has left a stormy land,

A stormy sea before her,
When, oh ! too strong for human hand,

The tempest gathered o'er her.

(LORD ULLIN and the armed men ride in. LORD ULLIN leaps off his horse, drops his carpet*
bag, pulls out his handkerchief, and laments loudly.)

And still they rowed amidst the roar

Of waters fast prevailing :
Lord Ullin reached that fatal shore;

His wrath was changed to wailing.

For sore dismayed, through storm and shade,

His child he did discover :
One lovely hand she stretched for aid,

And one was round her lover.


" Come back, come back ! " he cried in grief,

" Across this stormy water,
And I'll forgive your Highland chief,

My daughter ! O my daughter ! "



'Twas vain : the loud waves lashed the shore,

Return or aid preventing :
The waters wild went o'er his child,

And he was left lamenting.

[As the last lines are read, the four corners of the sheet are thrown over
the tub and its contents. LORD ULLIN is left loudly lamenting on tht




TWELVE girls must be arranged to form a graduated row
or semicircle, with either curtains or screens for a back-
ground. Dresses must be in Kate Greenaway style, and
carefully selected as to contrasting colors. Some can wear
bonnets, large or small ; others, caps. Some must have curled
or wavy hair ; others must have braids. It is better for all
to wear ties or slippers with large bows or buckles. They
must practise making the short drop-courtesy in concert, as
want of precision in this greatly weakens the effect.

When the reciter announces "the Miss Pelicoes," the
tallest one enters, stops in the middle of the stage, makes a
courtesy, and walks to her place at the head of the row.
The others enter in quick succession ; each making the cour-
tesy at the same spot, and going to her place. The ballad
proper then begins, all courtesying in concert whenever the
twelve " Miss Pelicoes " are named.

When the ballad is finished, all courtesy in the middle of
the stage, as they did upon entering, and pass out. An
encore is generally desired.

One girl commits the ballad to memory. She must say it
without any stumbling, repeating the lines very slowly where
there is much action, and rapidly where there is little. It is
important that her utterance be clear, distinct, and rather
loud, so there be no mistaking the sentiment expressed, both



by words and action. Costume according to taste, but not
fancy. Light colors preferable.

Enter one by one, courtesy in middle of stage, and pass on to place.

The twelve Miss Pelicoes

Were twelve sweet little girls:

Some wore their hair in pigtail plaits;

While some of them wore curls.

All courtesy exactly together.

Courtesy ', smiling sweetly.

Those with braids turn around to show their

braids ;
Those with curls, ditto.

The twelve Miss Pelicoes
Had dinner every day:
A not uncommon thing at all,
You probably will say.

All courtesy together.

Raise fingers to mouth, as if having some-
thing to eat.

The twelve Miss Pelicoes
Went sometimes for a walk.
It also was a well-known fact
That all of them could talk.

All courtesy together.

Head girl walks forward, all following, but
turning so as to be in places before last
line, when all say together, either " Good-
morning" " Fine day" " How do you
do ? " all mixed up, but rather loud.

The twelve Miss Pelicoes

Were always most polite ;

Said, " If you please," and " Many thanks,

" Good-morning," and " Good-night."

All courtesy together.

Bow to each other, shake hands.

After " said," the reciter omits " If you
please " and " Many thanks" leaving
this to be said by the four largest girls ;
" If you please " by the first two ; " Many
thanks ," by the next two ,' " Good-morn-
ing" by the next two ; " Good-evening"
by the next two, the reciter supplying
the " and."

The twelve Miss Pelicoes
Learned dancing, and the globes;
Which showed that they were wise, and had
The patience which was Job's.

Courtesy all together.

Take a few dancing-steps.

Try to look patient, resigned to a hard fate.

The twelve Miss Pelicoes
Played music, " Fa, la, la; "
Which consequently made them all
The joy of their papa.

All courtesy together.

Make motion with hands and arms, as if
playing on the piano. Let them draw
themselves up, turn their heads, and
smile in a self-satisfied manner.


The twelve Miss Pelicoes, All courtesy together.

You plainly see, were taught
To do the things they didn't like;
Which means, the things they ought.


Now, fare you well, Miss Pelicoes; All courtesy together.

I wish you a " good-day." All bow to reciter.

About these twelve Miss Pelicoes All courtesy together, and, after last line,

I've nothing more U, say. pass out one by one, each making courtesy.




THESE may be given either in tableaux, in pantomime, or
the performers may trust to the inspiration of the moment
for words, and fill each part as perfectly as possible. Prov-
erbs are given in a single scene. Charade words must be
divided into syllables, each one represented by a tableau or
scene, and the whole given as a final scene.


makes three pretty scenes. The first scene is

PATCH. Two little girls, dressed in expensive costumes,

Online LibraryHelen CampbellThe American girl's home book of work and play → online text (page 7 of 28)