staff with left hand, also.
Left shoulder, flag! Flag placed on left shoulder.
Right shoulder, flag! Flag placed on right shoulder.
Carry, flag! As before.
Port, flag! Grasp staff a little below center, hold diagonally across
chest, upper end resting on left shoulder.
Carry, flag! As before.
Parade, rest! Right foot six inches to rear, left knee slightly bent,
rest flag staff on floor in front of center of body and grasp it at top
with both hands.
Carry, flag! As before.
Surrender, flag! Lay flag on floor in front of body.
Recover, flag! Bend forward, pick up flag, hold it in front of body,
staff horizontal.
Carry, flag! As before.
Fix, flag! Kneel on right knee and stand staff of flag upon left knee,
staff vertical.
Triumph, flag! Stand, wave flag high above head.
Color-bearer now marches down center of stage to front, members fall in
line back of him in same order as on entering at beginning. At right
corner of front second boy steps up by first girl, third boy by second
girl, etc. Form couples, Color-bearer marching alone at head. Pass up
right side, across to center of back, down center of stage, across to
left corner front, up left side and off stage.
CIVIL WAR DAUGHTERS
Marie Irish
MARCH, SONG AND DRILL FOR TWELVE GIRLS OF THE INTERMEDIATE OR GRAMMAR
GRADES
Costumes: Four girls wear red dresses, four wear white and four blue.
Each girl wears two streamers, about nine inches wide and a yard to a
yard and a quarter long, depending on the size of the girl, pinned on
left of chest, thus:
[Illustration]
The girls in white wear one red and one blue streamer, those in red
wear a blue and a white streamer, while those in blue wear a red and a
white one. A bow in the hair, of the same colors as the streamers, is
also pretty.
March and Song
Music: A march.
Girls enter at back of stage, in single file, reds first, then those
in white and lastly the blues, one streamer held in each hand, arms
hanging at full length at sides. March once around stage in a circle,
then on reaching center of back come down center of stage to front,
where first girl goes to right, second to left, etc., pass to corners
of front, up sides, across to center of back, form couples and march
down center of stage in couples.
At front first couple turns to right, second to left, third to right,
etc., go to corners of front, up sides, across to back, form fours and
march down center to front. As they reach the front in lines of four
each, the three girls nearest the right of stage--a red, a white and
a blue--pass to the right. As the girl in blue comes to front before
turning, the next three--a red, a white and a blue--follow her. At the
same time the three nearest the left of stage pass to left corner and
the next three follow them. This makes two files of Red, White and
Blue, one from either side, which pass to corners of front, up sides,
then those passing up left side on reaching corner of back march in
a diagonal line to right corner of front, while the others pass from
right corner of back to left corner of front. As the lines cross at
center of stage first girl from right goes in front of first girl from
the left, then second girl from right in front of second girl from
left, and so on. Each line crosses front of stage to opposite corner,
those from the right corner keeping to the right of the other line
as the files pass. March up sides of stage, then across to center of
back, where the first three on the line that marched up right side form
the first row, the first three on the line from the left side form
the second row, second three from the right form the third row and
the others the fourth row, and they march down center of stage three
abreast, in the following order : B, W, R, leading; R, W, B; B, W, R;
R, W, B. On reaching front of stage the three of first row pass toward
left corner, second row passes toward right corner, next three follow
the first row toward left and last row follows second row to right.
They stand in curved line at front, thus:
[Illustration: R W B R W B B W R B W R]
Music now charges to COLUMBIA, THE GEM OF THE OCEAN and the girls sing
the following verses. On opening line of each stanza girls bow low, and
during chorus they all join hands, extending them to the front and
swinging streamers from side to side.
Oh, we are the Civil War Daughters,
With hearts that are loving and true;
From Maine to Pacific's blue waters,
We honor the soldiers in blue.
We sing of their danger and suff'ring,
We sing of their courage and might,
When to save their flag from destruction,
These boys stood so firm for the right.
_Chorus_: Three cheers for the soldier in blue,
Three cheers for his loyalty true;
Let us honor his name with ovation,
And give to the soldier his due.
Oh, we are the Civil War Daughters,
We sing of the March to the Sea;
And we sing of Vicksburg's close quarters,
Of Shiloh where blood flowed so free.
Though years have gone by since that conflict,
And the soldiers are passing away,
We hold them in loving remembrance:
True Blue--once partly loyal Gray.
_Chorus_: Three cheers for the soldier, etc.
March music is resumed, those nearest left of stage face left, the
other six face the right of stage, lines march to right and left
corners of front, up sides of stage, from corners of back in diagonal
lines to center of front, where lines cross, first girl from the right
going ahead of first girl from the left, second from the right goes
ahead of second from left, etc. Pass to corners of front, up sides,
stop in lines six abreast along sides of stage, those on left facing
right of stage and vice versa. Mark time, then march six abreast to
center, halt, couples facing each other.
Raise hands holding streamers high, fingers of each couple touching.
Stand thus for several measures of music, then those of the right-hand
line march to front, the other line standing until the last one of the
right line reaches front of stage, when the first one of the left-hand
line leads that line to front and they follow the first six, making
a single file which passes to right corner of stage, up to center of
right, whence the line marches thus:
[Illustration]
Where they cross at center of stage No. 1 goes in front of No. 7, No. 2
in front of No. 8, etc. On returning to center of right side the file
passes up to right corner of back, then across back of stage, forming
in two lines of six each at center-back, march six abreast down to
near-front and halt in lines for the drill.
Drill and Song
Grasp streamers where hands touch them when arms hang full length,
raise hands holding streamers and place on center of breast.
A. Right hand out at side, arm's length, and back, four times.
B. Left hand out at side, and back, four times.
C. Both hands at sides, and back, four times.
D. Right hand upward and outward, arm's length, and back, four times.
E. Left hand, same movement, and back, four times.
F. Both hands up, forming V, and back, four times.
G. Right hand down at side, arm's length, and back, four times.
H. Left hand down at side, and back, four times.
I. Both hands down at sides, and back, four times.
J. Right hand straight out in front of body, and back, four times.
K. Left hand in front of body, and back, four times.
L. Both hands in front of body, and back, four times.
M. Both hands on hips, down at sides and back to hips, four times.
N. Raise right hand above right shoulder and hold left hand down and
out from side till streamers are stretched tight, then lower the right
hand and raise the left, reversing position of streamers, four times.
O. With hands at center of breast raise right hand straight up from
shoulder and left down, arm's length at side, and back, four times,
then left hand up above shoulder and right hand down, and back, four
times.
P. Hands meet above head, arms curved, ends of streamers hanging back
of head, and back, four times.
Q. All kneel on left knee, raise both hands up, arm's length, girls on
first line touching hands together, back line the same, hold position
for several measures, then rise and sing, to tune of YANKEE DOODLE:
We are the Civil War Daughters,
We're brave as all creation;
And though we've never been to war,
We stand up for our nation.
While singing the chorus those of each line join hands, holding them
just a little higher than shoulders, then step out with right foot and
bring it back to place, once for each measure of music.
_Chorus_: Honor to the soldier's name!
Sing the wond'rous story
Of the splendid fight he made
When led on by Old Glory.
Our grandsires fought in that great war,
Fathers, and uncles, too, sir,
And that's the very reason why
We love Red, White and Blue, sir.
_Chorus_: Honor to the soldier's name, etc.
At close of song the march music is resumed, those on front line pass
to right corner, others follow, all pass up right side of stage, in
single file. From right corner of back the leader takes file around
stage in a large circle, then a smaller circle, etc., until smallest
circle possible for girls to march around is reached, thus:
[Illustration]
When all are in a circle at center of stage, they raise hands on
inside of circle and point upward towards center, hands touching,
holding streamers. March once around this way, then all turn and march
in opposite direction, once around in circle, raising the outside
hands, and holding streamers high. Then all turn and march in opposite
direction once around circle, this time raising both hands up until
fingers meet above head, lowering to side, raising again, etc. Then
those in red march to left corner of front of stage, those in blue to
right corner of front, while those in white come down center to front.
Those in red pass across front to right corner as those in blue pass
to left corner. Those in white wait at front of stage and as the reds
and blues cross front two girls in white follow the reds, the other two
follow the blues, the two lines pass up sides of stage and off at back.
THE BLUE AND THE GRAY ON THE RAPPAHANNOCK
Marie Irish
A DRILL AND MEDLEY FOR FROM TWENTY TO FORTY CHILDREN OF VARIOUS GRADES
Characters and Costumes: The part of Goddess of Liberty should
be taken by a young lady with strong voice who recites well.
She should dress in white, hair flowing, gilt crown, drapery of
red-white-and-blue, and carry a flag. If desired this part may be
taken by a boy dressed in patriotic costume to represent Uncle Sam.
Or a good effect is obtained by having both take part, Liberty and
Uncle Sam taking turns in reciting. If possible to obtain so many,
have twelve little girls take part in the Call of the Flag march.
These girls should be dressed in white with patriotic sashes or
red-white-and-blue streamers on left shoulder, and all carry flags.
The Response of the Soldier march is given by twelve boys of various
sizes, wearing dark suits, one of whom carries a drum and the others
carry guns. If desired some of the same boys may take part in this who
take part in the Blue and Gray drill. The latter drill is given by at
least sixteen boys, grammar grade, eight of whom dress in blue and
eight in gray. One of the boys in blue carries a U. S. flag, and one
of those in gray carries a Confederate flag; the rest carry guns.
To the strains of YANKEE DOODLE the Goddess of Liberty comes onto
stage, marches down left side, from left corner front in a diagonal
line to center of back, down to right corner front, up right side,
across to center of back and halts. Music ceases and the little "flag
girls" march in, half from each side of stage, half way between Liberty
and front of stage. The files pass across stage and off at opposite
sides, turn and march on again, meet at center of stage, form couples,
first couple turns and passes off at right side, second couple at left
side, etc., thus:
[Illustration]
The flag is carried in right hand, arm hanging at side, flag resting
against right shoulder. While this march is being given as silently as
possible, Liberty recites in strong, clear voice and a great deal of
feeling the following medley:
THE CALL OF THE FLAG
"Speed our Republic, O Father on high!
Lead us in pathways of justice and right;
Hail! three times hail to our country and flag!
Girdle with virtue the armor of might."
"No refuge could save the hireling and slave,
From the terror of flight or the gloom of the grave:
And the star-spangled banner in triumph doth wave
O'er the land of the free, and the home of the brave."
"'A song for our banner?' The watchword recall
Which gave the Republic her station:
'United we stand--divided we fall';
It made and preserves us a nation."
"Up with our banner bright,
Sprinkled with starry light,
Spread its fair emblems from mountain to shore,
While through the sounding sky
Loud rings the Nation's cry--
UNION AND LIBERTY! ONE EVERMORE!"
The girls' march should be arranged to close about the time Liberty
finishes speaking. One verse and chorus of MARCHING THROUGH GEORGIA is
then played and as music ceases the small boys come on and march in
the same way as the girls did, the drummer boy beating time softly,
occasionally. While the boys march Liberty speaks:
THE RESPONSE OF THE SOLDIER
"War! war! _war!_ Heaven aid the right!
God move the hero's arm in the fearful fight!
God send the women sleep in the long, long night."
"Never or now! cries the blood of a nation,
Poured on the turf where the red rose should bloom.
Now is the day and the hour of salvation;
Never or now! peals the trumpet of doom!"
"Lay down the axe, fling by the spade,
Leave in its track the toiling plough;
The rifle and the bayonet-blade
For arms like yours are fitter now:
"And let the hands that ply the pen
Quit the light task and learn to wield
The horseman's crooked brand, and rein
The charger on the battlefield."
"And how can a man die better
Than facing fearful odds
For the ashes of his fathers
And the temple of his gods?"
As Liberty concludes the lines and the boys march off, one verse and
chorus of COLUMBIA, THE GEM OF THE OCEAN, is played, then music changed
to a patriotic march and the boys in Blue and Gray march on in two
companies. Grays come on at front corner of right and Blues at front
corner of left, march up sides of stage, across to near-center of back,
down to front of stage, to corners, up sides and at corners of back
second boy in each line steps up by first, fourth by third, etc., and
form double files. March to near-center of stage, down center to front,
up sides, and at corners of back each company forms fours, march half
way down stage and halt in lines of four each, thus:
Liberty
G G G G B B B B
G G G G B B B B
Music stops and Liberty recites:
THE CONTEST
1. "And there was mounting in hot haste; the steed,
2. The mustering squadron, and the clattering car,
3. Went pouring forward with impetuous speed,
4. And swiftly forming in the ranks of war."
5. "By torch and trumpet fast arrayed,
6. Each horseman drew his battle-blade,
7. And furious every charger neighed,
8. To join the dreadful revelry.
9. Then shook the hills with thunder riven,
10. Then rushed the steed to battle driven,
11. And louder than the bolts of heaven
12. Far flashed the red artillery."
13. "Hark! Hark ! there go the well-known crashing volleys,
the long-continued roar
14. That swells and falls but never ceases wholly, until the
fight is o'er.
15. Up toward the crystal gates of heaven ascending, the mortal
tempests beat,
16. As if they sought to try their cause together, before God's
very feet."
17. "Like the leaves of the forest when summer is green,
That host with their banners at sunset were seen;
Like the leaves of the forest when autumn hath blown,
That host on the morrow lay wither'd and strown."
The above lines are recited rather rapidly until number 17 is reached,
the last four being given slowly and sadly. When marching in the boys
hold guns in right hand, arm full length at side, gun resting against
right shoulder. While Liberty recites the boys go through following
movements, corresponding to the numbers of the lines of the medley:
1. Salute, by raising left hand until the forefinger touches forehead
above left eye, thumb and fingers extended, palm to right. Drop arm
at side. 2. Lines of Grays face left of stage, and Blues face the
right. 3 and 4. All mark time as if marching rapidly. 5. Rest butt of
gun on floor, arms hanging naturally at sides, right hand holding the
barrel between thumb and fingers. 6. Raise gun and move to position
in front of body, barrel in front of face, hold with both hands, left
above the right. 7. Hold gun diagonally across chest, barrel resting
on left shoulder and butt against right thigh. 8. Blues take steady
aim at Grays, and vice versa. 9. Arrange for some noise at side of
stage to represent firing. 10 and 11. Blues kneel and aim at Grays,
and vice versa. 12. More "booming" behind scenes. 13. Rise and each
company retreats backward a step, holding guns at right sides. 14. Come
forward toward center, quickly, and aim. 15. Rest guns. 16. Bring guns
to position and mark time as if marching rapidly. 17. Each company
faces front of stage, stack guns in lots of four each and then sit on
floor in lines of four, facing front of stage. Music is resumed and
JOHN BROWN'S BODY is played through once, then Liberty steps forward to
front of stage and recites:
"The sun had sunk into the distant west;
The cannon ceased to roar, which tell of rest--
Rest from the shedding of a nation's blood,
Rest to lay their comrades 'neath the sod.
"'Twas early spring, and calm and still the night;
The moon had risen casting silvery light;
On either side of stream the armies lay
Waiting for morn to renew the fray.
"The Rappahannock silently flowed on,
Between the hills so fair to look upon;
Whose dancing waters tingled with silvery light,
Vied in their beauty with the starry night.
"But list! from northern hills there steal along
The softest strains of music and of song----"
A good effect is obtained by turning off lights during the music of
JOHN BROWN'S BODY so stage is dim during the speaking and the singing.
As Liberty pauses the Boys in Blue sing a stanza of THE STAR-SPANGLED
BANNER. When they finish, the Boys in Gray sing a stanza of DIXIE
LAND. It is a good plan to have a chorus of voices behind the scenes
help with the singing of both songs, to give more force to them.
As last song is finished lights are turned on, Liberty resumes her
place at back of stage, boys rise, leave guns, Boy in Gray leaves his
Confederate flag, all march to near-front of stage and form across in
two lines of eight each, thus:
G B G B G B G B
B G B G B G B G
The little girls in white who carried flags now march in and stand in a
row back of the boys, Liberty stands just back of the line of girls.
Liberty recites:
"The fiercest agonies have the shortest reign,
And after dreams of horror comes again
The welcome morning with its rays of peace."
The little girls recite in concert:
"Peace! and no longer from its brazen portals
The blast of War's great organ shakes the skies!
But beautiful as songs of the immortals
The holy melodies of love arise."
All the boys recite together:
"The union of lakes, the union of lands,
The union of States none can sever;
The union of hearts, the union of hands,
And the flag of our Union forever."
Liberty waves her flag, the girls with flags wave them above the heads
of the Boys in Blue and Gray, each boy in blue joins right hand with a
boy in gray, and everyone sings the first stanza of MY COUNTRY, 'TIS OF
THEE. Colored light may be thrown upon the scene for a tableau and then
the curtain dropped, or Liberty may come to front of stage, lead the
boys (who follow in single file), and then the little girls last, once
around the stage and then off.
PATRIOTIC SONG PANTOMIMES
Marie Irish
The Star-Spangled Banner
Hang back of stage with dark cloth, cover a box with dark material and
to back or center of it fasten a large flag. Let the box stand four
feet from wall so as to leave room to pass behind it.
If possible have ten girls of good size, ten small girls and ten boys
take part, though this number may be reduced if necessary. All the
girls dress in white with trimmings of red, white and blue and each
carries a flag. As the music of STAR-SPANGLED BANNER begins the large
girls march on in two lines, half coming from right and half from left.
After them come the small girls, half from each side, all march and
take places thus:
[Illustration]
They stand motionless, with flags at right side until music reaches
words, "Oh! say, does the star-spangled banner still wave," then all
raise flags and wave them. As music of second stanza begins, the girls
hold flags again at sides, and the boys march in, each one carrying
an air-gun or rifle. They come on stage, half from right and half
from left, marching slowly and carefully. As the boys get nearly to
center of stage each girl quickly raises her flag, takes aim with it
as though it were a gun, pointing it at line of boys. The boys stop as
if in fear, then pass quickly from stage, those from the right going
off at left, and those from left going off at right. Then as the music
reaches the refrain, sing the words of third stanza instead of second,
the boys helping behind scenes and all singing with spirit, "And the
star-spangled banner in triumph shall wave, O'er the land of the free
and the home of the brave," the girls waving their flags. A fine effect
may be obtained by burning colored light[K] during the singing.
[K] The colored light referred to is what is known as Tableaux Light.
It is put up in quarter-pound cans, each of one color, in Red, Green,
Blue, Gold, and White. It may be had from the publishers of this book
for per can, 30 cents; two for 55 cents; or four for $1.00; pre-paid.
America
Hang back of stage with dark cloth, also cover with dark material a
box that stands at center of back of stage. On this box, as curtain is
drawn, stands a young lady dressed as Columbia, wearing white gown,
drapery of red, white and blue bunting, and gilt crown on head. She
holds in one hand a large flag and in the other six streamers made of
cambric: two white, two red, and two blue, three or four inches wide
and nearly two yards long. On either side of Columbia stand three
girls, dressed in white and wearing sashes of red, white and blue, tied
in a bow at side. Columbia holds streamers by one end and each girl
holds the end of one. They stand thus:
[Illustration]
As music of second stanza is begun they kneel, taking position as
marked by crosses in the diagram. As music of third stanza is begun
the girls rise, raise hands holding streamers, point upward, and gaze
reverently heavenward. All sing very softly the words of stanza, "Our
fathers' God, to Thee, Author of liberty," etc.
Swanee Ribber
Have the words of the song sung by someone behind the scenes, the verse
by one person and the chorus by a number of voices. Across the stage
hang a curtain, leaving room in front for a person to walk. A young
man, or tall boy, comes on stage with face blackened and wig of curled
hair (made by sewing curled hair onto a circular piece of black cloth,
then running a rubber cord around edge and drawing up to fit head[L]),
wearing stiff hat, common dark suit and a large bright necktie. He
stands in front of curtain at right of stage as the words are sung:
[L] These wigs may also be purchased, ready for use, from the
publishers of this book.
"'Way down upon de Swanee ribber,
Far, far away,
Dere's wha' my heart is turning ebber,
Dere's wha' de old folks stay."
With head bent, hands in pockets and a dejected manner he walks slowly
across stage to left and back to center during the words:
"All up and down de whole creation
Sadly I roam,
Still longing for de old plantation
And for de old folks at home."
He stands at center of front during singing of chorus:
"All de world am sad and dreary (_hands extended at sides, arm's length_)
Eb'rywhere I roam; (_hands brought together in front of body_)
Oh! darkies, how my heart grows weary (_right hand over heart_)
Far from de old folks at home!" (_left hand in pocket,
head bowed on right hand, sad, dejected attitude_)
At close of chorus the impersonator goes to right corner of front of
stage and stands there during the second stanza. The curtain is now
drawn, revealing two little darkey boys, scantily clothed, feet bare,
and old hats on heads. They chase each other across back of stage
during the words:
"All round de little farm I wandered
When I was young,
Den many happy days I squander'd,
Many de songs I sung;
When I was playing with my brudder
Happy was I;"
A girl with face blackened, bright cap on head, calico dress, large
apron, and bright kerchief around neck comes on stage and one little
darkey boy stands on either side of her as the words are sung:
"Oh! take me to my kind old mudder,
Dere let me live and die."
The mother and little boys stand at back of stage during chorus, the
young man comes out to near-center and acts chorus as before, except at
the words, "Far from de old folks at home!" he turns and extends both
arms toward the group at back of stage.
As third stanza is begun the mother and boys pass off and a young
colored lady, gaily and gaudily dressed in bright colors, with a large,
"much-trimmed" hat, comes on and stands at back of stage. She gazes
off to side of stage and a young man, dressed about like one who does
the acting, comes on carrying a banjo. She goes to meet him, they walk
back to center of back, she sits on a stump of wood (or something to
give an outdoor effect), and he sits at her feet and pretends to play
the banjo. During the singing of this stanza the impersonator stands as
before, at side of stage, but as chorus begins he comes toward center
of front and acts as during second singing of chorus. The mother and
two boys come back on and stand, tableau effect, beside the girl and
boy with the banjo.
The Blue and the Gray
Hang back of stage with black cloth and fasten on wall, staffs crossed,
two good-sized flags. A few feet from the back, with about four feet
aisle between them, arrange two graves by using small boxes covered
with dark cloth for the mounds and nailing at the head of each a white
board for a stone. If it is not desired to have the words sung they
may be recited by someone at side of stage. A girl dressed as a woman,
all in black, comes on slowly, passes across back of stage from left
to right, down right side, up to aisle between two mounds and kneels
beside one of them as the stanza is read:
"By the flow of the inland river,
Whence the fleets of iron have fled,
Where the blades of the grave-grass quiver,
Asleep are the ranks of the dead;
Under the sod and the dew,
Waiting the judgment day;
Under the one, the Blue,
Under the other, the Gray."
She rises and from a small basket which she carries she places a
bouquet on the mound by which she knelt, then turns and places one on
the other mound as the words are read:
"From the silence of sorrowful hours,
The desolate mourners go,
Lovingly laden with flowers,
Alike for the friend and the foe;
Under the sod and the dew,
Waiting the judgment day;
Under the roses, the Blue,
Under the lilies, the Gray."
As stanza is finished she passes to back and stands by flags. Six girls
in white, each carrying a small basket of flowers, march on at left
back, pass to center, then down aisle between mounds to front; three
turn to each side, pass around and stand in two lines of three each,
one line on outside of each mound, both lines facing center, while
stanza is read:
"So, with an equal splendor,
The morning sun-rays fall,
With a touch impartially tender,
On the blossoms blooming for all;
Under the sod and the dew,
Waiting the judgment day;
Broidered with gold, the Blue,
Mellowed with gold, the Gray."
As the next stanza is begun the girls cover the mounds with flowers,
then march back up the aisle between mounds and stand three on each
side of girl in black by flags, finally all marching off stage when
stanza is finished:
"No more shall the war cry sever,
Or the winding rivers be red;
They banish our anger for ever
When they laurel the graves of our dead.
Under the sod and the dew,
Waiting the judgment day;
Love and tears for the Blue,
Tears and love for the Gray."
--_Francis Miles Finch_
Auld Lang Syne
This should be given by two as small children as can act it nicely: a
little girl with hair powdered, long dark dress, white kerchief and
apron, small black lace cap and spectacles, and a boy with glasses,
powdered hair, long trousers, coat fixed by sewing black "swallow
tails" onto a short dark coat, a white cravat and a stiff hat. As song
begins they sit at a small table on which are cups and saucers and a
tea-pot of tea. The girl pours out a cup of tea for each during the
words:
"Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And days of auld lang syne?"
Then as the chorus is sung the boy rises and bows low, then sits and
they raise cups, clink them and each takes a drink:
"For auld lang syne, my dear,
For auld lang syne;
We'll tak' a cup o' kindness yet,
For auld lang syne."
They lean forward and appear to be talking during the words of second
verse:
"We twa ha'e run aboot the braes,
And pu'd the gowans fine;
But we've wandered mony a weary foot
Sin' auld lang syne."
During singing of chorus second time the girl rises, makes a courtesy
to boy, then sits and they drink as before.
They stand and shake hands during the stanza:
"And here's a hand, my trusty frien',
And gi'e's a hand o' thine;
We'll tak' a cup o' kindness yet,
For auld lang syne."
During the chorus each turns to table, takes up cup, both bow, clink
cups and drink.
Columbia, the Gem of the Ocean
Words are sung by a chorus of voices off stage. At center of stage
have a pedestal--box covered with dark cloth will do--on which a girl
dressed as Goddess of Liberty stands, holding a large flag. A number
of girls in white, each with a small flag, come in and march in circle
around Liberty as the words are sung:
"Oh, Columbia, the gem of the ocean,
The home of the brave and the free,
The shrine of each patriot's devotion,
A world offers homage to thee."
Six boys march in and stand three on each side of Liberty, the line of
girls standing back of the boys and waving flags during words:
"Thy mandates make heroes assemble,
When Liberty's form stands in view;
Thy banners make tyranny tremble,
When borne by the red, white and blue."
During the chorus the boys stand in line in front of Liberty and the
girls march around them, waving flags. Liberty waves flag also.
Half of the boys and half of the girls stand in lines on either side of
Liberty and give salute to flag during the words[M]:
"'Old Glory,' to greet now come hither,
With eyes full of love to the brim;
May the wreaths of our heroes ne'er wither,
Nor a star of their banner grow dim."
[M] The words in these four lines have been somewhat changed to fit the
occasion.
Then during the rest of the third stanza and the chorus the boys stand
at back of Liberty, three on either side, and the girls kneel in
tableau effect in front of her.
Home, Sweet Home
At back of stage arrange a family group around a small table on which
are some flowers and a lamp. The mother is sewing, father reading, a
little girl playing with a dolly, and a boy working examples. All look
happy and cosy. As curtain is drawn revealing the scene, the first
stanza of HOME, SWEET HOME is sung, and a young man in soldier uniform,
carrying a gun over shoulder, marches back and forth across front of
stage as if on duty, looking sad and lonely.
(If desired, instead of a family group the scene may disclose an
elderly lady with bible on her knee.)
TABLEAUX
Marie Irish
When I'm a Man
A little boy wearing a soldier cap, a blue coat much too large for him,
a sword buckled at his side, a gun in one hand and a flag in the other,
stands in center of stage. As colored light[N] is thrown on the stage
he speaks:
"When I'm a man, a big, tall man,
I'll be a soldier, brave and true,
I will fight my country's battles,
Led on by the Red, White and Blue."
[N] See footnote, p. 124.
The Soldier's Farewell
Little boy dressed as in preceding scene stands with a little girl
who has on a long dress and hair done on top of head. She stands half
turned away from the boy, who has a hand on her shoulder as if trying
to comfort her. Her face is buried in her hands and she seems to weep
as he recites:
"How can I bear to leave thee?
It breaks my heart to grieve thee,
But now, whate'er befalls me,
I go where duty calls me."
The March of Civilization
A curtain is drawn, revealing at the back of a dimly-lighted stage an
Indian tepee with several Indians standing near. A march is played and
after several measures the others come onto stage. The line is led by
boy dressed as Uncle Sam, who takes position at center of stage in
front of tepee. On either side of him stands a soldier, and next to
the soldiers stand sailors. The others arrange themselves in line,
some on one side and some on other, some sitting on floor in front of
line. One, with bible, dresses as minister, one as farmer with large
straw hat and rake over shoulder. One as doctor, one as baker, one with
tools as carpenter, etc. A girl dresses as nurse; another with gown and
mortar-bored cap as a student; one has pen and scroll for writing; and
another carries a typewriter, sits on floor with it in front of her and
pretends to write on it. When all are in places colored light is thrown
on scene and Uncle Sam recites:
"Onward, forward, with steady pace,
Progress leads the American race;
And 'neath her penetrating ray
New wonders come to light each day."
Liberty
A colored boy, barefoot and scantily dressed in short trousers and
colored shirt, with a white cloth around head for turban, stands
fastened to a box with a chain. The box is covered with dark cloth and
on it stands girl dressed as Liberty--long white robe, crown, a drapery
of red, white and blue, and in her hand a flag. As light is turned on
she looks sadly at boy, then waves her flag above him, and the chain
which was lightly fastened drops to floor as boy gives it a pull. He
looks at fallen chain, then sinks on knees and, raising hands, clasps
them and gazes at Liberty as if asking help. Liberty waves flag above
him.
Peace
On a dais at back of stage sits boy costumed as Uncle Sam, with a large
flag. On one side of him stands Liberty, in white with drapery of red,
white and blue, and gilt crown. On other side is Wisdom, wearing white
dress with purple mantle fastened on right shoulder, bronze cap with
plumes, sandals, and shield and spear by her side. To a side and a
little in advance of Liberty stands Truth, all in white and carrying
banner with "Truth" printed on it. By Wisdom stands Justice, in blue
with scarlet mantle fastened on right shoulder and thrown back over
left arm. In her right hand she holds a pair of scales and her left
rests on a sword. Kneeling at right corner of dais is Ceres, the
goddess of corn and harvests, dressed in yellow trimmed with grain, her
left hand on sheaf of wheat, her right holding a horn of grain extended
to Uncle Sam. Kneeling at left of dais is Pomona, the goddess of
fruits, dressed in red trimmed with vines and clusters of grapes. She
holds up to Uncle Sam a basket of fruit. As light is turned on a stanza
of AMERICA is played.
Scenes from the Life of Lincoln
I. THE STUDENT
Arrange a fireplace by nailing up boards covered with dark cloth in
this shape |----|, piling some wood under it, pouring on some wood
alcohol, which is set on fire as curtain is drawn. Lying on the floor
studying by light of fire is a tall, dark boy.
II. THE LABORER
A tall, dark boy in common work clothes, trousers rather short, stands
with axe upraised ready to strike.
III. THE EMANCIPATOR
A tall, dark boy dressed in long black coat and rather ill-fitting
clothes, dark hair rumpled and pushed back from forehead, sits writing
as a rough-looking fellow with whip in one hand tries to pull a little
boy, face blackened and poorly clothed, from his negro mother, who
clings to child and weeps. A boy marches on stage, carrying large flag
and recites:
"No slave beneath that starry flag,
The emblem of the free!
No fettered hand shall wield the brand
That smites for liberty:
No tramp of servile armies
Shall shame Columbia's shore,
For he who fights for freedom's rights
Is free for evermore!"
--_George L. Taylor._
IV. THE PARDONER
Boy dressed as Lincoln stands in center of stage. By his side kneels
a young lady, looking imploringly at him, hands raised and clasped.
Lincoln shakes head sadly for "no." Girl bows head on hands and weeps.
Lincoln goes hurriedly to desk, writes, gives her the paper. She
kisses his hand, waves farewell and hurries from stage.
V. THE MARTYR
On an easel at center of stage have a picture of Lincoln, two large
flags draped above it and smaller ones around it. On either side of
picture stand girls dressed in white trimmed with red, white and blue
bunting, each holding a flag. They repeat:
"He went about his work--such work as few
Ever had laid on head and heart and hand--
As one who knows, where there's a task to do,
Man's honest will must Heaven's good grace command.
"So he went forth to battle, on the side
That he felt clear was Liberty's and Right's,
As in his peasant boyhood he had plied
His warfare with rude Nature's thwarting mights.
"So he grew up, a destined work to do,
And lived to do it: four long-suffering years.
Ill-fate, ill-feeling, ill-report lived through,
And then he heard the hisses changed to cheers."
--_Tom Taylor._
SONGS, STORIES, FACTS
WHEN LINCOLN WAS A LITTLE BOY
Clara J. Denton
_Tune_: YANKEE DOODLE
When Lincoln was a little boy,
So fond was he of reading,
His book was with him at the plough
Or in the garden weeding.
His home was in the woods and so
He couldn't have much schooling.
He had to work the live-long day,
And had no time for fooling.
He understood the plough and hoe
And with the ax was handy.
He didn't care for dressing up,
And never was a dandy.
For all the while his head was filled
With plans for gaining knowledge.
A first-class lawyer he became,
Yet never went to college.
He borrowed books from far and near,
From every kindly neighbor,
And studied them most faithfully
When resting from his labor.
_Chorus_: Keep on working, working on,
Daily knowledge claiming,
And you at last will reach the heights
At which you are aiming.
THE DAY WE CELEBRATE
Clara J. Denton
_Tune_: WORK, FOR THE NIGHT IS COMING[O]
The day that gave us Lincoln
Is one we all love well;
The day which now we honor
More than we can tell.
O little old log cabin,
Afar in forest wild,
We love your roof that sheltered
This most wondrous child.
And while we sing his praises
We'll try like him to be:
All upright, true and noble,
From self-seeking free.
And we will yet remember,
However poor our state,
There still is a chance, like Lincoln,
To grow good and great.
This day we will remember
In loyal love and joy;
For time or change can never
Faith in him destroy.
Yes, wreathe this day with flowers
Forever in our thought;
It gave the world a hero
And sweet freedom brought.
[O] Music for this may be found in Golden Glees song book, by S. C.
Hanson. Price, thirty-five cents, postpaid.
LINCOLN SONG
_Tune_: TENTING ON THE OLD CAMP GROUND
We are thinking today of a loved one lost,
Lincoln, the true, the brave;
Of the strong one who came, when tempest tossed,
Our nation's bark to save.
_Chorus_:
Many are the hearts that are mourning today,
Mourning for the brave laid low;
Many are the eyes looking up to say,
Oh, why must this be so!
Help us to say, humbly we pray,
Father, may Thy will be done!
We are thinking today how he led us on,
Just as the Lord led him,
To the glorious victory well-nigh won;
And our eyes with tears grow dim.
_Chorus_: Many are the hearts, etc.
We are weeping today, but the hour will come,
Come when we all shall see
Why the will of the Lord hath called him Home,
No more with us to be.
_Chorus_: Many are the hearts, etc.
THE NAME WE SING
Clara J. Denton
_Tune_: AMERICA
Of Lincoln now we sing,
Loud let the welkin ring,
The sound prolong.
He broke the bondsman's thrall
And freedom brought to all,
His mighty blows let fall
The shackles strong.
This man of pure intent,
Whose every thought was bent
Sweet peace to bring.
O eyes so keen of view,
O mighty heart so true,
O soul with courage new,
Of thee we sing.
So long as human speech
O'er this broad land shall reach
From shore to shore,
Here will his noble name
Its high place always claim
Unequaled in its fame
Forever more.
HIS NAME
Clara J. Denton
_Tune_: MARCHING THROUGH GEORGIA
In old Kentucky's wilds in a cabin that we know,
Before this day of days just one hundred years ago,
A blue-eyed baby came to this world of strife and woe,
And plain "Abraham" they called him.
_Chorus_:
O yes, O yes, for truth will make you free,
O yes, O yes, sweet truth gives liberty.
We'll sing this chorus over, and shout from sea to sea
'Tis now "Honest Abe" we honor.
But later on, because he the truth would always tell,
Another name they gave him and it became him well;
A name we'll always treasure, which none could buy or sell,
And now "Honest Abe" we honor.
_Chorus_: O yes, O yes, etc.
And, now, if we could choose a great blessing for each youth,
A something that would last till the end of life forsooth,
We know we'd choose at once "Honest Abe's" great love for truth,
And now "Honest Abe" we honor.
_Chorus_: O yes, O yes, etc.
To be the President is indeed an honor great,
And most nobly did he bear his duty's heavy weight,
But the name that first he won was more than royal state,
And now "Honest Abe" we honor.
_Chorus_: O yes, O yes, etc.
A SONG OF REJOICING
Clara J. Denton
_Tune_: THE BATTLE CRY OF FREEDOM
We are children of one flag, friends, yes, of the colors three,
And proudly we're singing of Lincoln.
He it was who kept this country all safe for you and me,
And proudly we're singing of Lincoln.
_Chorus_: The old flag forever, hurrah! friends, hurrah!
"To Lincoln we owe it"
Shout from afar,
While we rally 'round the flag, friends,
Rally once again,
Still proudly we're singing of Lincoln.
And today we'll not forget while our flag is waving high,
And gladly we're singing of Lincoln,
All the soldier boys that fought and for us did bravely die.
Still gladly we're singing of Lincoln.
_Chorus_: The old flag forever, etc.
Yes, the country that he saved we will honor ever more,
While loudly we're singing of Lincoln.
And the dear old flag shall wave still on high from shore to shore,
While loudly we're singing of Lincoln.
_Chorus_: The old flag forever, etc.
Since for Freedom did he live, and for Freedom did he die,
Now proudly we're singing of Lincoln.
We will strive like him to keep all our standards pure and high,
While proudly we're singing of Lincoln.
_Chorus_: The old flag forever, etc.
LINCOLN DEAR
Laura R. Smith Clarence L. Riege
[MUSIC]
_Lively_
1. Wave the bonnie banners high, O Lincoln dear!
A host of children passing by, Lincoln dear,
Will sing to you their sweetest song,
As they now proudly march along,
For laurels unto you belong, O Lincoln dear,
2. Bonnie flags shall crown you now, O Lincoln dear,
We place them by your noble brow, O Lincoln dear;
And fairer far than monument,
The love from our young march hearts is sent,
You were our honored President, O Lincoln dear.
Chorus:
Wave the banners high, The Red, the White, the Blue,
Wave the banners high, To Lincoln dear we're true.
O wave the bonnie banners, How proudly they all sway,
We wave the Red, the White, the Blue, For Lincoln dear today.
LINCOLN'S BIRTHDAY
Laura R. Smith F. F. Churchill &
Mrs. Clara Grindell
[MUSIC]
1. O dear Lincoln, we are singing
Of your noble deeds to-day;
Ever fond will be your mem'ry;
In our hearts you hold full sway.
Your last battle now is ended,
Your last victo-ry is o'er,
But your dear name we will honor,
And sing praises evermore.
2. O dear Lincoin, we are bringing
Choicest flow'rs that ever grew;
And we wave our royal banner,
Flag of red and white and blue.
Farewell, Lincoln, we are singing,
Sweet indeed may be your rest;
And you in our glorious country,
Take a place with he-roes blest.
Chorus:
Farewell, Lincoln, we are trying
To be, like you, true and brave,
For we can but truly honor
One who freedom to all gave.
THE SUNNY SOUTHLAND
Laura R. Smith Clarence L. Riege
[MUSIC]
_Allegretto_
1. 'Way down in the sunny Southland
Lives the little black boy, you know;
His mother sings a lullaby,
To the tune of the old banjo....
2. 'Way down in the sun-ny Southland,
Where the sky is so bright and blue,
The black boy on the banjo strings
Likes to play the same tune to you....
3. 'Way down in the sunny Southland
You will hear this sweet lullaby,
The wee black boy must go to sleep,
For the Sandman is passing by....
Chorus:
Plunkety plunk, Plunkety plunk,
Down in the cottonfield we go;
Plunkety plunk, plunkety plunk,
Plunkety plunk, plunk-plunk, banjo.
WHY DUMMY CLOCKS MARK 8:18
There are few who have not seen the ordinary sign of a jeweler, an
immense imitation of a watch hanging over the front of the store. But
it is safe to say that the number who have ever detected anything
curious in these same signs is small. At 8:18 p. m., April 14, 1865,
Abraham Lincoln was assassinated in Ford's Theatre at Washington
by John Wilkes Booth. Since that fatal night every one of these
watch-signs that has gone from the factory of the only man who makes
them has shown the hour of 8:18. The man who makes them said: "I was
working on a sign for Jeweler Adams, who kept a store on Broadway
across the street from Stewart's. He came running in while I was at
work and told me the news. 'Paint those hands at the hour Lincoln was
shot, that the deed may never be forgotten,' he said. I did so. Since
then every watch-sign that has gone out of here has been lettered the
same as that one."
--_Journal of Education_
LINCOLN'S TENDERNESS
When Lincoln was on his way to the National Cemetery at Gettysburg, an
old gentleman told him that his only son fell on Little Round Top at
Gettysburg and he was going to look at the spot.
Mr. Lincoln replied: "You have been called on to make a terrible
sacrifice for the Union, and a visit to that spot, I fear, will open
your wounds afresh.
"But, oh, my dear sir, if we had reached the end of such sacrifices,
and had nothing left for us to do but to place garlands on the graves
of those who have already fallen, we could give thanks even amidst our
tears; but when I think of the sacrifices of life yet to be offered,
and the hearts and homes yet to be made desolate before this dreadful
war is over, my heart is like lead within me, and I feel at times like
hiding in deep darkness."
At one of the stopping places of the train a beautiful little girl,
having a bunch of rosebuds in her hand, was held up to an open window
of the President's car, lisping, "Flowerth for the Prethident." The
President stepped to the window, took the rosebuds, bent down and
kissed the child, saying: "You are a sweet little rosebud yourself! I
hope your life will open into perpetual beauty and goodness."
GRANTING A PARDON
This story, probably better than any other, illustrates the noble and
sublime qualities of our great Lincoln. It is a forceful illustration
of his justice--justice tempered with mercy.
"Well, my child," he said, in his pleasant, cheerful tone, "what do you
want so bright and early in the morning?"
"Bennie's life, please," faltered Blossom.
"Bennie? Who is Bennie?"
My brother, sir. They are going to shoot him for sleeping at his post.
"Oh, yes;" and Mr. Lincoln ran his eye over the papers before him.
"I remember. It was a fatal sleep. You see, child, it was a time
of special danger. Thousands of lives might have been lost for his
culpable negligence."
"So my father said," replied Blossom, gravely; "but poor Bennie was
so tired and Jemmie so weak. He did the work of two, sir, and it was
Jemmie's night, not his; but Jemmie was too tired, and Bennie never
thought about himself, that he was tired, too."
"What is this you say, child? Come here; I do not understand," and the
kind man caught eagerly, as ever, at what seemed to be a justification
of an offense.
Blossom went to him; he put his hand tenderly on her shoulder and
turned up the pale, anxious face toward his. How tall he seemed! and
he was the President of the United States, too. But Blossom told her
simple and straightforward story, and handed Mr. Lincoln Bennie's
letter to read.
He read it carefully; then, taking up his pen, wrote a few hasty lines
and rang his bell.
Blossom heard this order given: "Send this dispatch at once."
The President then turned to the girl and said: "Go home, my child, and
tell that father of yours, who could approve his country's sentence
even when it took the life of a child like that, that Abraham Lincoln
thinks the life far too precious to be lost. Go back--or wait until
tomorrow. Bennie will need a change after he has so bravely faced
death; he shall go with you."
"God bless you, sir," said Blossom; and who shall doubt that God heard
and registered the request?
Two days after this interview the young soldier came to the White House
with his little sister. He was called into the President's private
office and a strap fastened upon his shoulder. Mr. Lincoln then said:
"The soldier that could carry a sick comrade's baggage and die for the
act so uncomplainingly deserves well of his country." Then Bennie and
Blossom took their way to their green mountain home. A crowd gathered
at the Mill depot to welcome them back; and as Farmer Owen's hand
grasped that of his boy, tears flowed down his cheeks, and he was heard
to say fervently: "The Lord be praised!"
LINCOLN'S AUTOBIOGRAPHY
This is what Abraham Lincoln himself had to say of his own and his
family history, in a letter to his friend, the Hon. Jesse W. Fell, of
Bloomington, Ill., under date of December 20, 1859--the year preceding
his election to the Presidency, and about the time his friends were
beginning to think seriously of his nomination:
"I was born February 12, 1809, in Hardin County, Kentucky. My parents
were both born in Virginia, of distinguished families--second families,
perhaps I should say. My mother, who died in my tenth year, was of a
family of the name of Hanks, some of whom now reside in Adams and
others in Macon County, Illinois. My paternal grandfather, Abraham
Lincoln, emigrated from Rockingham County, Virginia, to Kentucky, about
1781 or 1782, where, a year or two later, he was killed by Indians,
not in battle, but by stealth, when he was laboring to open a farm in
the forest. His ancestors, who were Quakers, went to Virginia from
Berks County, Pennsylvania. An effort to identify them with the New
England family of the same name ended in nothing more than a similarity
of Christian names in both families, such as Enoch, Levi, Mordecai,
Solomon, Abraham, and the like.
"My father, at the death of his father, was but six years of age, and
he grew up literally without education. He removed from Kentucky to
what is now Spencer County, Indiana, in my eighth year. We reached our
new home about the time the State came into the Union (1816). It was
a wild region, with many bears and other wild animals still in the
woods. There I grew up. There were some schools, so-called, but no
qualification was ever required of a teacher beyond 'reading, 'ritin',
and 'cipherin' to the Rule of Three. If a straggler, supposed to
understand Latin, happened to sojourn in the neighborhood he was looked
upon as a wizard. There was absolutely nothing to excite ambition for
education. Of course, when I came of age, I did not know much. Still,
somehow, I could read, write, and cipher to the Rule of Three, but that
was all. I have not been to school since. The little advance I now have
upon this store of education I have picked up from time to time under
the pressure of necessity.
"I was raised to farm-work, which I continued until I was twenty-two.
At twenty-one I came to Illinois and passed the first year in Macon
County. Then I got to New Salem, at that time in Sangamon, now in
Menard County, where I remained a year as a sort of clerk in a
store. Then came the Black Hawk War and I was elected a captain of
volunteers--a success which gave me more pleasure than any I have
had since. I went through the campaign, was elected, ran for the
Legislature in the same year (1832), and was beaten--the only time I
have ever been beaten by the people. The next, and three succeeding
biennial elections, I was elected to the Legislature. I was not a
candidate afterwards. During this legislative period I had studied law
and removed to Springfield to practice it. In 1846 I was once elected
to the lower House of Congress, but was not a candidate for reëlection.
From 1849 to 1854, both inclusive, practiced law more assiduously than
ever before. Always a Whig in politics, and generally on the Whig
electoral ticket making active canvasses. I was losing interest in
politics when the repeal of the Missouri Compromise aroused me again.
What I have done since then is pretty well known.
"If any personal description of me is thought desirable it may be said
I am, in height, six feet four inches, nearly; lean in flesh, weighing,
on an average, one hundred and eighty pounds; dark complexion, with
coarse black hair, and gray eyes. No other marks or brands recollected.
"Yours truly,
"A. Lincoln."
HOW THEY SANG THE "STAR SPANGLED BANNER" WHEN LINCOLN WAS INAUGURATED
Thomas Nast
I was in Washington a few days prior to the inauguration of Lincoln in
1861, having been sent by the Harpers to take sketches when that event
should come off. I did nothing but walk around the city and feel the
public pulse, so to speak. There was no necessity of saying anything
to anybody. You intuitively recognized that trouble was brewing.
Many people had sworn that Lincoln should not be inaugurated. Their
utterances had fired the Northern heart, and the people loyal to the
old flag were just as determined that the lawfully elected President
should be inaugurated, though blood should flow in the attempt.
It was an awful time. People looked different then than they do now.
Little knots of men could be seen conversing together in whispers on
street corners, and even the whispers ceased when a person unknown
to them approached. Everybody seemed to suspect everyone else. Women
looked askance at each other, and children obliged to be out would
scurry home as if frightened, probably having been given warning by the
parents.
The streets at night, for several nights prior to the inaugural
ceremonies, were practically deserted. There was a hush over
everything. It seemed to me that the shadow of death was hovering near.
I had constantly floating before my eyes sable plumes and trappings
of woe. I could hear dirges constantly and thought for a while that I
would have to leave the place or go crazy.
I knew that all these somber thoughts were but imagination, but I
also knew that the something which had influenced my imagination was
tangible--really existed.
The 4th of March came and Mr. Lincoln was inaugurated quietly and
without ostentation. After the services were over and it became known
that Mr. Lincoln had really been inducted into office there was a
savage snarl went up from the disaffected ones.
The snarl was infectious.
It was answered by just as savage growls all over the city. But nothing
was said. A single yell of defiance, a pistol-shot, or even an oath
would have precipitated a conflict.
Men simply glared at each other and gnashed their teeth, but were
careful not to grit them so it could be heard. I went to my room in the
Willard and sat down to do some work. I couldn't work. The stillness
was oppressive.
At least a dozen times I picked up my pencils, only to throw them down
again. I got up and paced the floor nervously. I heard men on either
side of me doing the same thing. Walking didn't relieve the severe
mental strain. I sat down in my chair and pressed my head in my hands.
Suddenly I heard a window go up and someone step out on the balcony of
the Ebbit House, directly opposite. Everybody in the hotel had heard
him.
What is he going to do? I asked myself, and I suppose everyone else
propounded the same mental interrogation.
We hadn't to wait long.
He began to sing the Star-Spangled Banner in a clear, strong voice.
The effect was magical, electrical. One window went up, and another,
and heads popped out all over the neighborhood. People began to stir on
the streets. A crowd soon gathered. The grand old song was taken up and
sung by thousands.
The spell was broken, and when the song was finished tongues were
loosened, and cheer after cheer rent the air.
The man rooming next to me rapped on my door and insisted that I should
take a walk with him. As we passed along the corridors we were joined
by others, men wild with joy, some of them weeping and throwing their
arms around each other's neck.
Others were singing and all were happy.
Washington was itself again. The "Star-Spangled Banner" had saved it.
LINCOLN'S FAVORITE POEM
MORTALITY
(O WHY SHOULD THE SPIRIT OF MORTAL BE PROUD?)
"The evening of March 22, 1864," says F. B. Carpenter, "was a most
interesting one to me. I was with the President alone in his office
for several hours. Busy with pen and papers when I went in, he
presently threw them aside and commenced talking to me of Shakespeare,
of whom he was very fond. Little Tad, his son, coming in, he sent to
the library for a copy of the plays, and then read to me several of
his favorite passages. Relapsing into a sadder strain, he laid the
book aside, and leaning back in his chair said:
"'There is a poem which has been a great favorite with me for years,
which was first shown to me when a young man by a friend, and which
I afterward saw and cut from a newspaper and learned by heart. I
would,' he continued, 'give a great deal to know who wrote it,[P] but
I have never been able to ascertain.' Then, half-closing his eyes, he
repeated the verses to me as follows:"
[P] This poem was written by William Knox, a Scotchman.
O why should the spirit of mortal be proud?
Like a fast-flitting meteor, a fast-flying cloud,
A flash of the lightning, a break of the wave,
He passes from life to his rest in the grave.
The leaves of the oak and the willow shall fade,
Be scattered around, and together be laid;
And the young and the old, and the low and the high,
Shall moulder to dust, and together shall lie.
The child that a mother attended and loved,
The mother that infant's affection that proved,
The husband that mother and infant that blessed,
Each, all, are away to their dwelling of rest.
The maid on whose cheek, on whose brow, in whose eye,
Shone beauty and pleasure,--her triumphs are by;
And the memory of those that beloved her and praised
Are alike from the minds of the living erased.
The hand of the king that the scepter hath borne,
The brow of the priest that the miter hath worn,
The eye of the sage, and the heart of the brave,
Are hidden and lost in the depths of the grave.
The peasant whose lot was to sow and to reap,
The herdsman who climbed with his goats to the steep,
The beggar that wandered in search of his bread,
Have faded away like the grass that we tread.
The saint that enjoyed the communion of heaven,
The sinner that dared to remain unforgiven,
The wise and the foolish, the guilty and just,
Have quietly mingled their bones in the dust.
So the multitude goes, like the flower and the weed
That wither away to let others succeed;
So the multitude comes, even those we behold,
To repeat every tale that has often been told.
For we are the same that our fathers have been;
We see the same sights that our fathers have seen,--
We drink the same stream, and we feel the same sun,
And we run the same course that our fathers have run.
The thoughts we are thinking, our fathers would think;
From the death we are shrinking from, they too would shrink;
To the life we are clinging to, they too would cling;
But it speeds from the earth like a bird on the wing.
They loved, but their story we cannot unfold;
They scorned, but the heart of the haughty is cold;
They grieved, but no wail from their slumbers will come;
They enjoyed, but the voice of their gladness is dumb.
They died, ay! they died! and we things that are now,
That walk on the turf that lies over their brow,
Who make in their dwellings a transient abode,
Meet the changes they met on their pilgrimage road.
Yea! hope and despondence, and pleasure and pain,
Are mingled together in sunshine and rain;
And the smile and the tear, and the song and the dirge,
Still follow each other, like surge upon surge.
'Tis the wink of an eye, 'tis the draught of a breath,
From the blossom of health to the paleness of death,
From the gilded saloon to the bier and the shroud,--
O why should the spirit of mortal be proud?
THE GETTYSBURG ADDRESS
This address of Abraham Lincoln's was delivered at the dedication of
the National Cemetery, Gettysburg, Pennsylvania, November 19, 1863.
The great battles fought at Gettysburg, in July, 1863, made that
spot historic ground. It was early perceived that the battles were
critical, and they are now looked upon as the turning-point of the war
of the Union. The ground where the fiercest conflict raged was taken
for a national cemetery, and the dedication of the place was made an
occasion of great solemnity. The orator of the day was Edward Everett,
who was regarded as the most finished public speaker in the country.
Mr. Everett made a long and eloquent address, and was followed by
the President in a short and simple speech which deeply affected its
hearers, and later the country, as a great speech. The impression
created on the audience has deepened with time. Mr. Stanton's
(Secretary of War in Lincoln's Cabinet) prophecy as to the lasting
qualities of the President's address has materialized. He said:
"Edward Everett has made a speech that will make many columns in the
newspapers, and Mr. Lincoln's perhaps forty or fifty lines. Everett's
is the speech of a scholar, polished to the last possibility. It is
elegant and it is learned; but Lincoln's speech will be read by a
thousand men where one reads Everett's, and will be remembered as long
as anybody's speeches are remembered who speaks the English language."
Fourscore and seven years ago, our fathers brought forth on this
continent a new nation, conceived in liberty, and dedicated to the
proposition that all men are created equal. Now we are engaged in
a great civil war, testing whether that nation, or any nation so
conceived and so dedicated, can long endure. We are met on a great
battlefield of that war. We have come to dedicate a portion of that
field as a final resting-place for those who here gave their lives
that that nation might live. It is altogether fitting and proper that
we should do this. But in a larger sense we cannot dedicate, we cannot
consecrate, we cannot hallow this ground. The brave men, living and
dead, who struggled here, have consecrated it far above our poor power
to add or detract. The world will little note, nor long remember, what
we say here, but it can never forget what they did here. It is for us,
the living, rather to be dedicated here to the unfinished work which
they who fought here have thus far so nobly advanced. It is rather for
us to be here dedicated to the great task remaining before us,--that
from these honored dead we take increased devotion to that cause for
which they gave the last full measure of devotion,--that we here highly
resolve that these dead shall not have died in vain,--that this nation,
under God, shall have a new birth of freedom,--and that government of
the people, by the people, for the people, shall not perish from the
earth.
EVENTS IN THE LIFE OF ABRAHAM LINCOLN
A LIST OF IMPORTANT FACTS CHRONOLOGICALLY ARRANGED
1809 February 12. Born in a log-cabin in Hardin (now
Larue) County, Kentucky.
1816 His father moves with his family into the wilderness
near Gentryville, Ind.
1818 His mother (Nancy Hanks Lincoln) dies, at the
age of 35.
1819 His father's second marriage, to Mrs. Sarah
Johnston (Johnson), widow with three children.
1828 Makes a trip to New Orleans and back, at work
on a flat-boat.
1830 February and March. Lincoln family remove to
Macon (not Ma_s_on) County, Illinois; log-house,
near Decatur, on the Sangamon River.
Abraham of age, works independently; makes
3,000 fence rails under contract.
1831 May. Makes another flat-boat trip to New
Orleans and back, on which trip he first sees
negroes shackled together in chains, and forms his
opinions concerning slavery.
Begins work in a store at New Salem, Ill.
1832 Lincoln's first political address.
Enlists in the Black Hawk War; elected a captain
of volunteers.
1833 Storekeeper, Postmaster, Surveyor, at New Salem.
1834 Elected to State Legislature.
1835 Death of Lincoln's betrothed, Miss Ann (or
Anne) Rutledge, at New Salem. Lincoln deeply
grieved.
1836 to 1842. Reëlected to the Legislature.
1837 Studies law in Springfield and forms law partnership
with John T. Stuart.
1842 November 4. Marries Mary Todd.
1846 Elected to Congress.
1848 Declines reëlection to Congress.
1849 Returns to Springfield to widen his law practice.
Engages in this until 1854.
1851 January 17. Thomas Lincoln (Abraham's father)
dies in Coles County, Illinois.
1854 Lincoln's family now consisted of three sons (one
had died in his infancy); his law practice
remunerative.
1855 Debates with Douglas at Peoria and Springfield.
Elected to State Legislature; resigns to seek U. S.
Senatorship, but defeated by Douglas, is reëlected.
1855} Aids in organizing Republican party.
1856}
1858 Joint debates in Illinois with Stephen A. Douglas.
1859 Makes political speeches in Ohio, Kansas, etc.
1860 February. Lincoln tours New England; visits
New York, and speaks at Cooper Institute, being
introduced by W. C. Bryant.
March 16-18. Chicago Republican Convention.
Unanimously nominated for President; Hannibal
Hamlin, Vice-President.
November 6. Elected President over J. C.
Breckenridge, Stephen A. Douglas, and John Bell.
1861 March 4. Inaugurated President (the sixteenth).
April 15. Issues first order for troops to put down
the Rebellion.
1862 February. President Lincoln's son Willie dies in
the White House.
March. The President as acting Commander-in-chief
overrules General McClellan and Council of
War as to immediate forward movement.
July 2. Calls for 300,000 three-years troops.
August 4. Calls for 300,000 men, special, nine
months.
1863 January 1. Issues the Emancipation Proclamation.
July 1-4. Victories for the Union armies. Battle
of Gettysburg, Pa.; defeat for General Lee's
Army. Vicksburg captured by General Grant.
Lincoln thanks Grant for the capture.
September 17. Calls for 300,000 three-years
troops.
November 19. His address at Gettysburg.
1864 February. Calls for 500,000 volunteers.
Renominated and reëlected President.
1865 March 4. Lincoln inaugurated, the second term.
April 14. The President assassinated by J. Wilkes
Booth, at Washington. He dies the next morning.
May 4. Burial at Springfield, Ill.
* * * * *
Transcriber Note
The illustration provided at the end of The Internet Archive was
assumed to be the cover for this volume and was moved before the
frontispiece. For those songs displayed in scores, the verses were
rejoined. All footnotes were placed as near their anchors as possible.