Home Pastimes; or Tableaux Vivants Part 6

BUST OF PRAYER.

Prayer is the soul's sincere desire, Utter'd or unexpress'd; The motion of a hidden fire That trembles in the breast.

Prayer is the burden of a sigh,-- The falling of a tear,-- The upward glancing of an eye, When none but G.o.d is near.

Prayer is the simplest form of speech That infant lips can try; Prayer, the sublimest strains that reach The Majesty on high.

One Female Figure.

This beautiful production should be represented by one who has an amiable and modest appearing countenance, good figure and features.

The hair must be brushed up from the forehead, and fastened behind in a black crochet net. The dress should be pure white, open very low at the front and back. A cross is suspended from the neck by a band of white ribbon. A heavy white veil should pa.s.s over the top and back of the head, and be tied loosely four inches below the chin; the head inclined forward slightly, the eyes closed, while the countenance should appear serene, pure, and full of hope; the arms are to be folded out of sight upon the breast. The same machinery, pedestal, wire basque, crimson curtain, and fairies that are used in the Bust of Proserpine, may be used in this piece. The light should be mild, and come from the left side of the stage. Music plaintive, and of a sacred order.

MORNING WELCOMED BY THE STARS.

A glorious vision: as I walked in gloom, The children of the sun came thronging round me, In s.h.i.+ning robes and diamond-studded shoon; And they did wing me with them, and soon In a bright dome of wondrous width I found me, Set all with beautiful eyes, whose wizard rays,---- Shed on my soul, in strong enchantment bound me; And so I looked and looked with dazzled gaze, Until my spirit drank in so much light That I grew, like the sons of that glad place, Transparent, lovely, pure, serene, and bright; Then they did call me brother; and there grew Swift from my sides broad pinions gold and white, And with that happy flock a brilliant thing I flew!

TUPPER.

Twenty-one Female Figures.

This beautiful spectacle is represented by twenty-one persons. Twenty of the number should be young misses, of about six or eight years of age, who will personate the stars, and one, a young and handsome lady, who is to represent morning. The sides of the stage must be arranged in the form of terraced banks, two feet wide at the bottom, and four feet wide at the top; they should be built from the footlights to within three feet of the ceiling, covered with cloth, and painted to represent clouds. Blue cambric, with white clouds and gold stars, will answer the purpose. In the centre of the stage, two pieces of joist must be placed in an inclined position, running from the footlights to the background. On these build a sliding platform, four feet square, with a small seat, one foot high. This should be made to run with ease from the top to the bottom of the joist; cloth, painted in imitation of clouds and stars, can be extended across the s.p.a.ce between the two terraces and the joist, so that it will show a smooth surface. Cover the moving platform with cloth, arranged in drapery style, and paint in the same manner as the rest of the scenery. A back scene should be placed at the top of the terraces, leaving a s.p.a.ce of three feet between it and the back wall; this must be painted like the rest of the scenery, and made to open in the centre, near the top of the joist.

The young misses' costume consists of a short white dress, decorated with gold stars, and silver paper interspersed with spangles, white hose and shoes, hair hanging in curls, and encircled with a band of silver leaves, with a silver star on the forehead; a light blue sash, covered with spangles, tied about the waist; and small gauze wings fastened to the back of the dress. Each one should hold a small torch ten inches in length, from which rises a blue flame; these can be made of card-board, and covered with light blue paper, with the ends tipped with gold. At the end from which the flame is produced, insert a strip of tin, to protect the torch from the flames. The torches should not be lighted until all the figures are in position. The young misses take their position at each side of the stage, on the outer edge of the terrace. They must lean forward slightly, and hold the torch out from them. Their att.i.tudes should be varied; those near the top should be gazing upward, others looking down, and a few engaged in conversation. The young lady who represents Morning must be costumed in a loose white robe of tarleton muslin, cut low at the top, flowing sleeves, skirt covered with three wide flounces, trimmed in front with silver rays five inches long. The waist and sleeves decorated with silver and gold spangles, and a satin belt, ornamented in like manner, worn about the waist. The hair should be brushed back from the forehead, and clasped with a band of silver, and allowed to hang over the shoulders in long curls; the head is adorned with a band of gold, with rays of silver radiating from the centre. The position is, seated on the platform, head slightly inclined to the left, the right hand raised over the head, the left rests on the waist; eyes directed to the children in the foreground, countenance expressing pleasure. The G.o.ddess Morning will be seated on the platform, behind the scenery.

A yellow fire must be burned in the ante-room, and so shaded that, just as the curtain rises, a small portion of the light will s.h.i.+ne on the centre of it; this light should increase in brightness for a few seconds, when the sky in the background must open, and the G.o.ddess glide slowly down to the centre of the stage. As the platform moves, the fire should increase in brightness; when she has arrived at the centre of the stage, the yellow light should be thrown into the foreground, and a red light thrown into the background. This can be accomplished by placing the colored fires in large boxes furnished with sliding covers and reflectors; and by drawing out the covers gradually, the light will be thrown on to the picture in the proper manner. The curtain in the background can be opened by attaching at each corner, near the centre, a small cord, which can be pa.s.sed through pulleys, and attended to in the ante-rooms. The curtain or scenery should be drawn up on the back side, and let down in its place as soon as the platform has pa.s.sed through. A small rope, painted blue, must be attached to the platform, and pa.s.s through a block fastened to the wall of the stage; this can be tended by a person under the stage, who will allow the platform to move with exactness to its stopping place. If the light from the colored fire is not brilliant enough, a few of the lights at the same side from whence the fire is produced can be lighted. Music soft and plaintive at first, and increasing in power at the finale.

THE STATUE VASE.

She spoke to vanish, but the single ray Shot from the unseen moon, still palely breaketh The awe that rests with midnight on the way; Faithful as Hope when Wisdom's self forsaketh-- The buoyant beam the lonely man pursued-- And, feeling G.o.d, he felt not Solitude.

And now, he enters, with that lurid tide, Where time-long corals shape a mighty hall; Three curtain'd arches on the dexter side, And on the floors a ruby pedestal, On which with marble lips, that life-like smiled, Stood the fair Statue of a crowned Child.

BULWER'S KING ARTHUR.

One Female Figure.

This design is a beautiful female, supporting a horn of plenty, from which rises a basket of intermingling vines and flowers. The lady is standing on a pedestal, which is described in the tableau of the Italian Flower Vase, as is also the basket which the lady supports.

This basket or bowl of the vase can be suspended from the centre of the ceiling by the means of wire hooks. The pedestal must be placed directly under it. The s.p.a.ce between the top of the pedestal and the bottom of the basket should be just the height of the lady who takes the part of the statue in the piece; so that when she is in position on the pedestal, the bottom of the basket will touch the top of her head. The horn of plenty can be made of cloth; it should be five inches in diameter at the top, three foot long, and end in a point at the bottom; it can be stuffed with wool, covered with green cambric, and decorated with artificial flowers. It is to be attached to the bottom of the basket, pa.s.s down over the lady's shoulder, and held in its position by the left arm and hand. The lady who takes this part should be of large and good figure, regular features, and quite pretty. The costume consists of a white dress, with sleeves five inches long, cut low at the neck, skirt made rather long, and worn without many underskirts; a scarf of gauze worn over the shoulders, and tied at the right side, allowing the ends to trail on the pedestal. The hair should be arranged in wide braids at the side of the face, confined at the back with a band of silver, and allowed to fall in short curls over the neck. The position of the lady is, standing in the centre of the pedestal, her body facing the audience, and head turned partially to the right. The eyes should be raised a trifle, while the expression of the face denotes tranquillity and repose. The left hand must gracefully press the horn of plenty against the side of the breast, while the right is raised above the head, and touches the basket as if to steady it. The light for this piece should be of medium brilliancy, and placed at the side opposite to the face of the statue. Music soft and of a secular order.

SPIRIT OF CHIVALRY.

Strike the loud harp, ye minstrel train!

Pour forth your loftiest lays; Each heart shall echo to the strain Breathed in the warrior's praise.

Bid every string triumphant swell Th' inspiring sounds that heroes love so well.

Chieftains, lead on! our hearts beat high-- For combat's glorious hour; Soon shall the red cross banners fly On Salem's loftiest tower!

We burn to mingle with the strife, Where but to die insures eternal life.

MRS. HEMANS.

Nine Male and Five Female Figures.

This fine tableau represents the Spirit or personification of Chivalry, surrounded by men of various pursuits, religious, military, and civil, who represent, as by an upper court or house, the final acquisition of her honors and rewards. Beneath, as not having obtained, though within reach of, the crown, is a young knight who vows chivalric services, and is attended by his page and his young bride. Around him, in various att.i.tudes, other figures are introduced, to connect the abstract representation of Chivalry with its general recognition of intellectual influences; among them, the Painter, the Sculptor, and Man of Science; the Palmer from the Holy Land, and the Poet-Historian, from whom future ages must derive their knowledge of the spirit and deeds of chivalry. The lady who personates the Spirit of Chivalry should be of good figure and features. Her costume consists of a loose white robe, cut high in the neck; a mantle of white tarleton muslin is draped about the shoulders, and fastened in front with a gilt cross; the hair is arranged in bands, falling low in the neck, and encircled with a small wreath of silver leaves or white flowers. In her left hand she holds a small wreath of evergreen, which she extends towards the young knight, who kneels at the foot of the pedestal on which she stands. Her position is, on a pedestal, three feet high by two feet square, which should be placed in the centre of the stage. Her body should be inclined slightly forward, and attention directed to the knight in the foreground; her countenance should express dignity and pleasure. At the back of the pedestal there should be a representation of an altar, consisting of a shaft two and one half feet wide by three feet in height, with a capital on the top one foot wide by three and one half feet long. This can be made of boards, showing a smooth surface, and nailed to the top of the pedestal. It can be papered or painted to represent panels and scrolls. Fourteen other figures are grouped around the pedestal, and as the arrangement of the piece is a trifle complicated, we will designate them in rotation, beginning at the foot of the pedestal. The figures, as they recede in the background, should be placed on small platforms, rising from one to three feet in height. By arranging the figures in this manner, a perfect view of each will be had by the audience. Figure one is a young lady; she kneels at the foot of the pedestal on which the Spirit stands. Costume is, a white dress, cut low at the waist, encircled with a satin sash; hair arranged in curls. Position is, sitting, the body facing the audience, head resting on the hand, and thrown back so as to touch the pedestal, and eyes directed to the face of a harper, who kneels in front of her; the countenance expresses surprise and admiration. Kneeling on the floor, nearly in front of figure one, is a young knight--we have almost a back view of him, the head turned just enough to get a partial profile view of the face; one hand clasps a sword, which he raises in front of the body; the other is lifted above the head, which is thrown back, with the eyes fixed on the Spirit. The armor can be conveniently composed by fastening strips and plates of bright tin to a suit of clothes made of black cambric.

The belt, gloves, and boots can be gotten up in the same manner. This suit will cost but a trifle, and in the glare of the footlights will look finely. Figure three is the palmer. He kneels behind figure one.

Costume consists of a dark robe, cowl made of black cloth, and face covered with a heavy beard. In his hands he holds a shepherd's crook.

His eyes are directed to the harper. Figure four is a small girl, who stands behind figure three, and holds in both hands the helmet of the knight. Her costume consists of a white dress, with a pink sash; hair done up to suit the taste of the performer. Her position is, facing the audience, eyes fixed on the knight, expression of the face denoting pleasure. Two other ladies stand on a small platform, outside of the lady holding the helmet. Their costume consists of a white dress, black velvet waist, hair arranged in wide braids at the side of the face; one clasps her hands in front of her breast, and looks with earnestness at the knight; the other places an arm on the shoulder of her friend, and looks up into her face, her countenance beaming with smiles. Behind these three females, and standing on a platform two feet high, are two peasants. They are dressed in blue frocks, fastened around the waist with black belts, knee breeches of colored cloth, white hose, low shoes, knee and shoe buckles, white Kossuth hats, encircled with a gilt band; the face covered with long, light beards.

Each holds a long staff, with a gilt crook at the top. Their position should be behind the altar, arms folded on the breast, head inclined forward, eyes cast down, and the expression of the face melancholy and sober. Opposite to the two figures last described, and standing on a platform at the other side of the altar, is a knight in full armor. He holds a large sword in front of his body, and is looking straight forward. His costume can be made in the same manner as that of the one described at the beginning of the tableau. On a low platform, at the side of the Spirit, stand a Sculptor and a Painter. Their position is, facing the knight, who is kneeling in the foreground. Their costume consists of white jackets, dark pants, and flat, white caps, worn jantily on the side of the head. The Painter holds his pallet and brushes, the Sculptor his mallet and chisel; their attention is directed to the figure of the kneeling knight. Standing on the floor, below the two figures just described, is the Poet-Historian. He faces the audience, and looks at the Harper in the foreground. He is dressed in dark clothes; a heavy white mantle is thrown over his shoulders, the ends trailing to the floor; on his head is placed a garland of green leaves. He holds in both hands a large book, which should be bound richly and opened in the centre. Kneeling on the floor at his feet, and facing the young knight, is the Harper. He holds in his left hand a harp, and touches the strings with his right. His costume consists of a coat made of Turkey cloth, trimmed with black binding four inches wide; black knee breeches, white hose, knee and shoe buckles, and red shoes. Over the left shoulder is carelessly thrown a short velvet cloak, and on the head is a black velvet cap, with a gold band and plume. His head is thrown back, eyes directed to the Spirit, while the countenance should appear to be inspired. Kneeling at the foot of the pedestal, between the first figure and the Harper, is the Troubadour, playing on a guitar; he faces the audience; his head is thrown back, and his eyes cast upward. Costume consists of a purple coat, trimmed with black binding, blue breeches, white hose, low shoes, knee and shoe buckles, belt containing a small dagger, about the waist. The harp can be made of wood, covered with gold paper, and strung with buff cord. The light for this piece should be produced at either side of the stage, and a small quant.i.ty at the front. The side light must be very powerful. The accompanying music should be of a brilliant order.

HAIDEE AND DON JUAN IN THE CAVE.

His eyes he opened, shut, again unclosed, For all was doubt and dizziness; he thought He still was in the boat, and had but dozed, And felt again with his despair o'erwrought, And wished it death in which he had reposed; And then once more his feelings back were brought, And slowly by his swimming eyes was seen A lovely female face of seventeen.

'Twas bending close o'er his, and the small mouth Seemed almost prying into his for breath; And, chafing him, the soft, warm hand of youth Recalled his answering spirits back from death; And, bathing his chill temples, tried to soothe Each pulse to animation, till beneath Its gentle touch and trembling care, a sigh To these kind efforts made a low reply.

BYRON.

One Male and Two Female Figures.

This pleasing tableau is taken from the poem of Don Juan, by Byron.

The scene is that where Haidee discovers the insensible form of Juan lying at the mouth of the cave, near to the sea sh.o.r.e. Don Juan has been s.h.i.+pwrecked; his almost lifeless body has washed ash.o.r.e, and found a resting place in a rocky cave, to be discovered by the beautiful Haidee and her attendant. The princ.i.p.al work in this piece is the forming of the cave, which can be made in the following manner: The floor of the cave should rise gradually from the front to the background; this can be accomplished by using boxes of various sizes, over which place brown cambric, with brown paper attached to it in a crumpled manner, so as to imitate ragged rocks, and when painted with light and brown colors, and ornamented with isingla.s.s, will make a very good appearance. The floor of the cave should extend to within three feet of the front of the stage, and run back to the extreme background. The s.p.a.ce between the footlights and the floor of the cave should be covered with blue cambric, painted to represent waves and surf. Directly behind the drop curtain there should be a representation of the roof and sides of the cave. Light frames, covered with brown paper, similar to the floor, and made very irregular at the edges, must be placed at each side of the stage, and at the top; these should be two feet wide, and of the height and width of the stage. Two other sets of frames should be made similar to the first, and placed at equal distances from the fore to the background.

The first set must be three feet wide; the second set four feet wide.

The background of the cave may also be covered with similar scenery.

The idea of arranging the scenery in this manner is to give a deep appearance to the cave. Isingla.s.s should be profusely sprinkled over the surface of the rocks, and a few sprigs of gra.s.s fastened to them will add to the effect. The fastening of the brown paper to the frames can be dispensed with if there is any person who can paint out the rocks on plain canvas. The one who personates Juan should be of slight figure, fine, regular features, hair black and curly, and small moustache. Costume consists of black pants, with buff or gold stripe at the side, white s.h.i.+rt, with blue collar, and gold star at the corners, black belt around the waist, white hose, low shoes, with buckles of silver. The s.h.i.+rt should be left open in the neck, so as to expose the bosom. A small wound can be imitated on the side of the head, made with red paint. Position is, reclining on the rocks in the foreground of the cave; the left side touches the rocks, the head thrown back, and face exposed to the view of the audience. The right hand grasps a small oar, while the left is stretched out at his side.

The eyes are closed, the feet crossed, and resting in the water.

Haidee and her friend are seen in the background. Both should be of small figure and good features. Haidee should be quite pretty, and costumed in a blue dress, black velvet waist, open in front, and laced across with blue ribbons; sleeves long and flowing; a small crimson ap.r.o.n, with bands of gold at the bottom; a black velvet belt around the waist, with a showy pin in the centre; bows of pink ribbon fastened with a small, showy pin at each shoulder; hair hanging in curls; hat made of velvet, trimmed with gold bands and white feathers, which should be placed jantily on the side of the head. Her position is, standing on the rocks in the back of the cave, one hand raised so as to shade her eyes, the other pointing to the body of Juan; the eyes are fixed on the body, while the countenance expresses surprise; the right foot must be placed twenty inches in front of the left, while the body is inclined forward. The figure back of Haidee has on a costume similar to that already described, but of less showy and expensive material. She is standing five or six feet from Haidee, and has her hands filled with sh.e.l.ls, which she has gathered from the sh.o.r.e. She is intently engaged in looking at her sh.e.l.ls, and has not yet seen Juan; her body is bent forward slightly, the expression of the face denoting curiosity and thought. The light for this piece should come from the front of the stage, and must be quite brilliant.

If a melodeon is used as an accompaniment to the piece, it should be played to imitate the roaring of the ocean.

POVERTY.