SCENE II: _Interior of MR. RADCLIFFE’S room. Table, chairs, couch,

YULETIDE

ENTERTAINMENTS

CHRISTMAS RECITATIONS, MONOLOGUES,

DRILLS, TABLEAUX, MOTION SONGS,

EXERCISES, DIALOGUES,

AND PLAYS

SUITABLE FOR ALL AGES

BY

ELLEN M. WILLARD

AUTHOR OF

_“The Favorite Book of Drills,” “Fun for Little Folks,” “Little

Plays with Drills,” and “Pictured Readings

and Tableaux”_

[Illustration]

CHICAGO

T. S. DENISON & COMPANY

PUBLISHERS

COPYRIGHT, 1910, BY T. S. DENISON & COMPANY

MADE IN U. S. A.

_Yuletide Entertainments_

CONTENTS

PART I.

RECITATIONS, MONOLOGUES, DRILLS, MARCHES AND MOTION SONGS.

Bell Song, The 24

Christmas Every Day 7

Cranberry March 26

Dance of the Holly and Mistletoe 28

Fred’s Christmas Shopping 9

Hollyberry Drill 32

In Grandma’s Day 11

Old Aunt Dinah’s Christmas 18

Pickaninny’s Christmas, The 34

Pop-corn Dance 37

Sleighbell Drill, The 41

Too Much Christmas 20

We Know 20

What Counts 21

PART II.

DIALOGUES, EXERCISES, MUSICAL PIECES AND PLAYS.

All the Year ’Round 45

Boy’s Christmas, A 49

Christmas Bargain, A 51

First Christmas, The 57

King of the Year, The 61

Mrs. Randy’s Christmas 72

Ready for Santa Claus 80

Santa Claus’ Garden 87

Santa Claus in Many Lands 93

Spirit of Christmas, The 101

The songs in this book are to be sung to old airs that are presumably

familiar to everyone. If any of them should prove unfamiliar, however,

the music will be found in Denison’s “_Songs Worth While_,” one of the

best arranged and most carefully edited collections of old favorites

ever published. This book is beautifully printed on non-glossy paper,

measuring 10¼ by 7 inches, and is well bound in a stout paper cover done

in colors. It may be obtained from the publisher for the price of $1.00,

postpaid.

INTRODUCTORY

It becomes more and more a part of Christmas gayety to present the

legends, or the spirit of it, to the eye as well as the mind.

For this purpose the following pages have been prepared in play and

pantomime, songs and marches, drills and recitations.

While the needs of adults have not been forgotten, those of the children

have been most largely remembered, since Christmas is pre-eminently the

children’s festival.

A word to those who take charge of such affairs may not be amiss.

Precision of movement is the keynote of success for everything of this

kind. This does not mean stiffness, but it does mean exactitude and

certainty. Uncertain gestures in speaking; scattered attack and close in

singing; hesitation in acting; and, more than all, careless motions and

marching in the drills (corners not formed squarely, motions only half

in unison, etc.)—all these are fatal to that success which makes such

entertainments entertaining.

Here, as everywhere else, “What is worth doing at all, is worth doing

well.”

YULETIDE ENTERTAINMENTS

PART I.

Recitations, Monologues, Drills, Marches and Motion Songs

CHRISTMAS EVERY DAY.

Dear little Dorothy Dill Magee

Had a very beautiful Christmas tree;

And on it were hung the loveliest things,

Dolls, and sashes, and gloves, and rings,

Till nothing more, you would have thought,

Could possibly have been wished or sought.

But little Dorothy Dill Magee,

Although delighted as she could be,

Began to sob, to sniffle and cry

Because the day was so near passed by.

“I wish it was always Christmas Day,”

Little Dorothy Dill was heard to say.

Then what did round old Santa do

But pop right in through the chimney flue,

And say to Miss Dorothy Dill Magee

“Just as you wish I will make it be:

And I’ll tell every one of your friends and mates

That Christmas, to you, is of many dates.”

So Dorothy Dill forgot to cry,

And mourned no more when the day passed by,

But went to bed to dream of all things,

From dolls to fairies with gossamer wings.

The following morning stockings hung

By the side of her bed, and toys were strung

Beside the fire, and Dorothy Dill

Jumped up to explore with a right good will.

She had so many nice things that day

That she could do nothing but play and play.

But when night came with its Christmas tree

She was just as tired as she could be.

She scarcely could open her sleepy eyes,

And didn’t see half of her rich surprise.

When Dorothy Dill again awoke

The bulging stockings were like a joke,

A tiresome joke, and Dorothy sighed

With frowning brow at the gifts at her side.

She looked them over but couldn’t play,

And turkey and pudding at dinner that day

Weren’t good at all, and the Christmas tree

That night was horrid as it could be.

The troubles that followed I couldn’t rehearse,

For Dorothy’s Christmas grew worse and worse.

She had so many sashes and rings,

So many fine dresses and all such things,

That closets and drawers couldn’t hold them all;

She flung them on the floor of the hall,

“I hate the sight of them all,” quoth she.

And as for the turkey and Christmas tree,—

“They’re the pest of my life,” Miss Dorothy cried,

“I dread just the name of the Christmas tide.”

The dolls of all sizes came by the dozens

From uncles and aunts, from playmates and cousins.

Little dolls, big dolls, china and wax,

With dresses of reds and yellows and blacks.

Under the tables, and chairs and bed,

In closets, on stairs, those dolls were spread.

She gave them, and gave them, and gave them away,

And not with any of them could she play;

And she was so tired of the Christmas trees

She wished they were covered in deepest seas.

And as to the letters and words of thanks,—

They crowded before her, ranks upon ranks,

And begged to be written and said until

They seemed her whole mind to crowd and fill.

Now what Miss Dorothy Dill Magee

Did with her every-day Christmas tree,

And her every-day turkey, and pudding and pie,

I never have heard; but let’s you and I

Be just as thankful as we can be

That we have but one jolly Christmas tree.

FRED’S CHRISTMAS SHOPPING.

_A Monologue for a Boy of Ten or Twelve Years._

_Enters with arms full of bundles; begins talking while he puts them down

on the table._

FRED. Say! But this Christmas shopping wears on a fellow! How in thunder

the girls stand it—shopping the way they do—I can’t see.

If I had all the money in creation it wouldn’t be much better, for a

fellow never knows what to get for the other fellow, you see.

There’s Sis, now—big Sis, I mean, of course—the little ones don’t count

much. It took me the whole afternoon to think of something for her.

She’s got most everything that counts for anything, like skates. All

the fixings girls wear she don’t want, of course. She’s got plenty of

jewelry—I _did_ think some of a carnelian ring for her—and finally

I thought of just the thing. (_Tugs at a big candy box in his coat

pocket, holds it up._) Candy! Yes, sir; that’s one thing a girl can

never have too much of. And I got it all in licorice and gum drops,

good, chewy ones—and “jawbreakers”—kinds that will last a while. (_Nods

emphatically._)

There’s a train of cars for little Sis (_indicating packages as he

talks_). I think after Christmas I’ll build a track and make some

semaphores and switches—and a bridge—and a station-house—all for those

cars. ’Course _I_ don’t care for cars, but I think it would be real fun

to fix ’em all up for little Sis. And I’ll show her how to run ’em,

too. “Dolls,” did you say? Oh, pshaw! She don’t want any more dolls.

Cars are lots better. And Baby—’course he must have something, so I got

him one of those funny faces that squeak. Say, do you know, I laughed

till I was tired making that go through its performances. Squints one

eye (_illustrating_), you know, and twists its mouth. Why, you’d laugh

yourself to see it. Guess I’ll take it to school and show the boys on the

sly. Won’t there be a rumpus, though? Gee!

I couldn’t leave out Cook Nora, so I got her that (_showing cookie

cutter_). Good hint for some cookies, _I_ think, and a joke into the

bargain.

And here’s a ball for Bill. (_Bounces it._) A number one. He lost mine

last week. Now I can borrow his.

This (_unwrapping a gay tissue paper parcel and showing a large candy

heart_) is for Nellie—she’ll like it. She’s pretty nice—for a girl—and

she thinks I’m great!

And here’s the best of all. (_Shows a knife, opening its many blades._)

And who do you guess it’s for? Why, _Mother_, of course. I always give

her a knife every Christmas. I always lose ’em, and so I am bound to get

her another, you know. Now that’s the best one I ever got for her—four

blades and a corkscrew! My! But that’ll be fun!

And Father—when I got to him I had only a nickel left, and couldn’t think

of a thing, so I finally bought him a pipe. (_Shows a clay pipe._) I know

he don’t use that kind, but I thought it might do if he lost the other.

I only had a nickel, and anyhow it’ll be just fine for soap bubbles. Oh,

Christmas shopping isn’t so bad, after all.

IN GRANDMA’S DAY.

_Illustrated with Eight Tableaux. Directions at Close._

_This is recited by the “Grandma,” who sits and knits as she talks, with

pauses when the tableaux are shown. She speaks slowly, in a reminiscent

way, adapting her actions to the words._

_During the showing of the tableaux she leans her head on her hand, or

looks ahead of her, not at them, as if dreamily thinking of the pictures

her memory calls up._

It’s cold today, and Christmas time is getting very near.

I wish I knew just what to do to help the season’s cheer.

Things nowadays have grown so strange that I am puzzled quite.

I wonder if they care at all that Christmas comes tonight.

Son John has grown so gray and tired; he used to beg to hear

The Christmas stories—he and Bess. How sweet they were—and dear!

(NO. 1 TABLEAU—_The Stories._)

I told them of the blessed Child who in the manger lay.

Without these stories, so he said, it wasn’t Christmas day.

But now his children do not care to have these stories told;

They go to Christmas parties, and they, too, look tired and old.

They do not romp and jump about as children used to do,

They dance at “balls,” and go to “clubs” until it makes me blue.

(NO. 2 TABLEAU—_Children at Ball._)

The Christmas stockings have gone out of present fashion quite;

I wonder if they care at all that Christmas comes tonight.

Has John forgotten? He is tired and worn with business cares—

But every night I used to hear the children say their prayers.

(NO. 3 DOUBLE TABLEAU—_John and Prayers._)

And when the blessed Christmas Eve came with its cold and snow,

They used to hang their stockings round the fireplace in a row.

What fun it was! How happily they planned for Christmas Day!

How hard to wait for morn to come to light their merry way.

(NO. 4 TABLEAU—_Children with Stockings._)

His children now are grown-up people, proper, most polite.

They never hang up stockings, that is nonsense in their sight.

The little son has bank notes, and the girls some jewels gay;

A sober “thank you,” or a frown are what they bring the day.

Paul fills his time with wondering why mother gave him “_that_,”

And Helen wishes she had had instead “that stunning hat.”

(NO. 5 TABLEAU—_Children Discontented._)

Oh, deary me! How sweet ’twould be to have them at my knee,

A-listening to the sweet old tales that mine once heard from me.

Now when _I_ was a little girl, I had my stockings hung

At Christmas Eve beside the fire, and Christmas songs were sung.

And after breakfast, Christmas Day, to church we all must go

And hear the Christmas sermon—it was rather long, I know.

But then, I always liked it, because, just back of me,

Sat Philip Deane, and he and I were dearest chums, you see;

And after church we walked back home together, he and I.

I used to think when he was near the sermons weren’t so dry.

(NO. 6 TABLEAU—_Grandma and Philip._)

Dear Phil! He grew so tall and strong—the handsomest of all.

I remember how he danced with me at Susan Elmer’s ball.

On Christmas was our wedding day, and I remember still

How Philip bent above me then—how clear his words, “I will.”

(NO. 7 TABLEAU—_Wedding._)

And every Christmas after that grew fuller of earth’s joys

As to us came the blessed gifts of darling girls and boys.

How long ago it seems—and yet—I always hold them dear,

Those memories so full of love and sweetest Christmas cheer.

(No. 8 FINAL TABLEAU.)

DIRECTIONS.

CHARACTERS—Seven Children, Five Adults.

_Children_—Two Boys, Three Girls.

_Adults_—Two Males, Three Females.

Group No. 1 signifies the boy and girl shown in tableau No. 1. Their

costume is the old-fashioned style.

Group No. 2 signifies the boy and girl shown in tableau No. 2. Their

costumes are modern.

By using these two groups and retaining the two styles of costume,

the tableaux are much simplified, as group No. 1 retains the original

costume, only putting a night dress or outdoor garments over it as

required. Group No. 2 does not change.

Fewer can be used if necessary, but it will add greatly to the ease

and quickness of presenting the tableaux if the full number indicated

are used. By doing this very few changes in costume are required, and

the characters, being all dressed, or requiring but little change, the

tableaux can be quickly arranged.

[Illustration: STAGE.]

A-A-A—Curtains or screens.

B-B—Frames.

C-C—Curtains.

G—Grandma’s chair.

X and Z—Platforms.

One frame or setting can be used if the manager has her pictures well

in mind; but as the illustrations or tableaux must be arranged quickly

in order to be shown just at the proper moment, it will be easier and

wiser to have two frames or settings, so that one picture can be placed

while the other is being shown to the audience. The order of arrangement

following will insure the best results.

[Illustration: _Fig. 1._ _Fig. 2._]

These settings should be frames of light timbers. See Fig. 1. The inner

opening is seven feet high by eight feet wide and the outer dimensions

two feet wider. This frame should be covered with a black cloth and a

gray gauze stretched across the opening. The space behind the frame

should be curtained or screened at the back and sides with black or dark

gray. Fig. 2. The floor behind the frame should be raised two feet in

order to bring it well into view of the audience, and of course the frame

must correspond. The pictures are arranged between the frame and the

screens.

The frame and gauze _can_ be omitted, and the picture presented in the

space surrounded by the screens or curtains; but of course the _best_ way

is the one indicated.

With all accessories ready, and some previous rehearsals, these tableaux

can be easily and rapidly presented.

In front and to one side the Grandma sits in an easy chair. No other

accessories. The tableaux are presented in the settings described above,

either one frame in the middle of the stage and about four feet back, or

two frames set as in Fig. 3.

TABLEAU 1—On platform X.

Young mother sitting, facing audience. Plain, dark dress, kerchief or

lace crossed over bosom, hair in low knot at back of neck and brushed

smoothly over the ears in the manner of ante-bellum days.

Boy of eight or ten stands at her left, his arm over her shoulder, her

left arm around him. He is dressed in long, narrow trousers, white

stockings and low slippers, frilled white shirt front, short jacket (to

the waist only), wide collar and bow tie.

Girl of six or eight sits on stool or low chair, leaning on the mother’s

lap, looking in the mother’s face as the mother looks down at her. Any

dress with short “baby” waist and short sleeves. Hair in two smooth

braids or loose curls.

TABLEAU 2—On platform Z.

Boy and girl from eight to twelve years dressed in extreme of modern

style party costumes. He has her hand held high and they are in the

attitude of some figure of the Lancers. Their bearing is sober and

indifferent. These are children No. 2.

TABLEAU 3—

This is double and both curtains can be drawn at the same time. On

platform Z sits “Son John,” a middle-aged man, gray, well dressed. He is

in an office chair or an arm chair, his elbow on the table, his head on

his hand. His attitude and face show weariness as he sits thinking.

On platform X, prepared while tableau No. 2 is being prepared and shown,

children No. 1 kneel at the same mother’s knee in prayer. They are in

white nightgowns and a small white bed is back of them. (This may be

omitted.) If one frame only is used divide it by a movable screen, giving

the single figure but one-third the space.

TABLEAU 4—Children with stockings. Platform X.

The back of the space represents a fireplace. Painted scenery can be

used, or a framework to indicate it, with andirons in the fireplace. No

fire needed. Two bulging stockings hang by the fireplace; one is small

and has a doll showing in the top of it, and a very small child in

nightdress is reaching up her arms to the doll.

The other girl in nightdress is sitting on the floor examining the

contents of her stocking, with toys lying around her.

The boy, dressed as in tableau No. 1, is astride a rocking-horse in

attitude of driving; or he is blowing a trumpet with one hand, while he

drums with the other on a drum which is hung around his neck.

TABLEAU 5—Platform Z. Group No. 2.

Same costume as before. They sit facing each other (not too near). The

boy has one hand in his pocket, leans lazily back in his chair and looks

crossly at an open pocketbook held in the other hand.

The girl wears much jewelry and has an open jewel case in one hand and a

watch and chain in the other, at which she looks scowlingly.

TABLEAU 6—Platform Z. Group No. 1.

Dress as in tableau No. 1, but with the addition of outdoor garments.

These should be of the “Kate Greenaway” type, pictures of which can be

seen in children’s books. They walk side by side, her hand in her muff,

he holding out to her a candy heart. They are smiling shyly at each other.

TABLEAU 7—Platform X.

Wedding scene. Parson (who may be same one who personated “John” in

tableau No. 3) in Episcopalian gown and bands, holding a prayer-book and

looking at the couple before him. He stands at one side of the frame and

close to it, slightly turned away from the audience, so that the bridal

couple may _partly_ face the audience.

The groom is tall and handsome, dressed in Colonial style, with white

stockings, low buckled shoes, white satin knee breeches, long vest and

long-skirted coat (color to choice), with wide lace ruffles at wrists and

down the shirt front. He wears his hair long, powdered and tied behind

with a black ribbon.

The bride is small and slender, dressed in full Colonial costume, with

veil, etc. She either looks down or smiles up at him.

TABLEAU NO. 8—

This is a double tableau, both platforms and curtains being used, and

both pictures being shown at once.

On platform Z “Son John” stands just behind his children (group No. 2)

and all look imploringly at Grandma and hold out their arms to her.

On platform X the bride and groom stand back at one side, his arm around

her, both smiling at Grandma. A double gauze should hang before them

_inside_ the frame, so that they are but dimly seen.

Group No. 1 stand together at the right front of the space and both reach

their arms to Grandma as they smile at her.

CURTAIN.

OLD AUNT DINAH’S CHRISTMAS.

A MONOLOGUE.

Go way fum hyar, chile! How you s’pose I gwine git ready fer Sandy Claws

ter come if you chillun keeps a-hangin’ eroun’?

Doos Sandy Claws bring dem Chris’mus gif’s? Sho he do. Does _I_ put gif’s

inter dem stockin’s, too?

Laws! Yo’ jes’ talkin’ foolishness. How Sandy Claws gwine fill yer

stockin’s ef dar ain’t no stockin’s dar I like ter know? An’ ain’t I de

one dat mends ’em? Co’se I hangs up de stockin’s. Yer kaint ’spect Sandy

Claws ter tote a passel ob stockin’s ’roun’ wid him. Don’t he be good

’nuff ter put tings in ’em I lak ter know?

You Pete! Ef yer opens dat ar drawer yer gwine cotch it sho’!

What’s in dar? Dat’s fer me ter know an’ you ter guess, mo’ ’special jes’

eroun’ Chris’mus.

Why kaint yer see? What’s dat? Ef Sandy Claws brungs de gif’s huccome I

wants ter hide anyt’ing? See yhar, chile! Some dese days yo haid gwine

ter bus’ clar open wid its sma’tness. Oh, go ’long off an’ ’muse yerse’f.

Yer tongue hung in de middle an’ wags hese’f all ways ter wunst.

’Lisbeth Maude! Leave my wu’k basket ’lone, will yer? Yo tink dat look

lak er doll dress, hey?

Yo’ jes’ better onhook dem eyes ob yourn f’um whar dey don’t b’long.

Ya-as. Dis Chris’mus Eve, sho’. Ya-as, Sandy Claws gwine come yere ef

yer’s _good_. He ain’ gwine come whar de chilluns is bad an’ don’ min’

dey ma, an’ axes er lot ob fool questions.

Ma’y Bell! Quit teasin’ dat baby! Ain’t yer ’shame yerse’f? Yo ’spec’

Sandy Claws gwine brung anyt’ing to a leetle gal what—Abram Lincoln! Git

outen dat cupboard! Quick, I say! My lan’! Ef I jes’ kin git er holt er

yo’ fer five minutes I’m gwine mek yer dance! Yas sar! Yer _better_ cla’r

outen yhar!

Genevieve Blanch! Come yhar an’ wit dese chilluns an’ chuck ’em in baid!

I’s plumb wore out, an’ ef dey axes any mo’ ob dere fool questions I

gwine ter ex-plode! An’ den whar’ll Chris’mus be at?

TOO MUCH CHRISTMAS.

Christmas every day! Oh, what fun ’twould be.

With all the gifts and all the fun and jolly Christmas tree!

And yet, I’m not quite sure, we might get tired enough

Of fancy things and fol-de-rols and all the Christmas stuff

If it should come so often; and so, perhaps, it’s true

To keep it just the way it is I think is best, don’t you?

Christmas every day! One thing I can see

That all the gifts and all the sports and jolly Christmas tree

Can’t make us glad if we are bad and selfish and unkind.

Perhaps one way to make each day like Christmas we may find

Is just to _feel_ like Christmas toward each one that we may see,

And make it happy, like that day, wherever we may be.

WE KNOW.

_Recitation for Two Very Little Children._

We are just two little children,

Too small to work or sew,

But we know when it’s Christmas,

And what it’s for we know.

And we know what we’re good for;

It’s just to grow and grow,

And be two little children

For you to love and know.

So, Santa, dear old Santa,

Please come here soon, for oh!

We’re waiting and we’re waiting

Because we love you so.

WHAT COUNTS.

A MONOLOGUE.

_BETTY HOLLOWAY is a girl ten years old, and her mother is a widow with a

large family whom she supports by making buttonholes. They are very poor,

and Christmas is coming._

_BETTY (speaks)._

Yes, Christmis is a-comin’, and I feel worser and worser the more it

keeps a-comin’.

Ma an’ me we had all sorts of fun planned out, ’coz I’ve been helpin’

much as I could, and we’ve been savin’ up for Christmis.

Then what did Buddy do but go an’ break his arm, and that cost lots.

(_Sighing._) Yes—I know—the doctor didn’t charge nuthin’, but the drug

store man did, ’coz Buddy had fever and had to have medicine to stop it.

And Benny (that’s Buddy’s twin), he wasn’t goin’ to be left behind, so he

broke a winder playin’ ball, and ma paid for it. And it was hard work to

keep ’em from fightin’; ’coz Bud he said a broke arm was worst, and Ben

he would have it a broke winder was worst—cost as much, anyhow.

(_Suddenly._) Betty Holloway! What you whinin’ about? Cryin’ ’fore you’re

hurt, are you? (_Scornfully._) Didn’t know you was _that_ kind. What did

ma tell you the other day?

“’Taint what comes to us, Betty,” she said, “It’s how we take it when

it comes that counts,” she said. “We can’t sit down and cry, not one

of us; we’ve all _got_ to count for something. All of us.” My! When ma

talks like that, with her eyes shinin’ and her lips smiley, it makes me

think of the band goin’ by; you can’t help marchin’ in time and walkin’

straight, and you feel like you could tackle anything.

Well, sir, I’m goin’ to tackle Christmis, and I’ll make it _count_, now

you see. With all these children on our hands ma ’n’ me has to hustle,

but we’ll never let Christmis go and nothin’ doin’.

Now, le’s see. “When you ain’t got money you got to make your know-how

and your hands do instead,” ma says. That’s true _this_ time if it never

was before. (_Looks at her hands._) Ten fingers—and that’s all. (_Shakes

head doubtfully, then cheerily says:_) Ho, you Betty! Where’s your

know-how? Stir that up a bit and get to work. Well—first of all there’s

the twins. They’re always playin’ store. I’ll make ’em a store. I’ve got

a box the grocer gave me yesterday, and that shall have shelves in it,

and a counter; and I know where to get some little bottles, and I’ve got

two cardboard boxes, big ones, and I’ll make no end of things out of

’em—little boxes and scales, and sugar-scoop—’n’ lots of things. Sand

shall be sugar, and plenty of things will do for spice and coffee, and

such. Oh, you’ll see! It’ll be a nilligant store. I don’t b’lieve that

one in the toy store is much nicer. And I can make paper bags, and—oh,

what fun! And _won’t_ they be tickled!

Then, besides the store I’ll make ’em some paper soldier caps. Ma gave

me some be-u-tiful paper last week; it came around a bundle of work. And

some badges—I’ve got some silver paper that come ’round some chocolate

once—I found it; it’ll make beauty badges. Oh, I tell you! They’ll be

so fine they can hardly step. Stripes down their trousers, too. Why, I

couldn’t get ’em anything that would tickle ’em more if I had a whole bag

of money. And this won’t cost a cent.

Then there’s Jennie and Bess. They’re not twins, but they might just as

well be. They’re just of a size, if one is older ’n the other, and they

look just alike, and they want to do the same things.

’Course it’s dolls for them. I had meant to get ’em some of those dear

little ones with real hair and arms and legs that move. Oh, dear!

(_Sighs. Then, straightening up._) Keep your whinin’ in your pocket,

Betty. I’ve told you that before. I’m makin’ this Christmis _count_ for a

good time, and whinin’ isn’t part of a good time; so keep it still, I say.

Well—about the dolls—let’s see. Oh, _I_ know. I’ll make ’em a playhouse.

I’ve got lots and lots of cardboard spool boxes, and you’d be s’prised to

see what dandy things they make; beds, and chairs, and sofys—why, I can

make everything a doll house could want. Dolls will have to be rag ones

of course, which isn’t so very stylish; but then! The house will be so

fine they’ll hardly notice the dolls, I guess. So that settles it for the

girls.

Then there’s the baby. He’s most three and such a dear! But sakes alive!

He’s easy. Why, a little box with a string to it makes a fine wagon. And

I can make him a nilligant ball out o’ bright pieces. And I’ll ask Mr.

Sweeny if I may go into his planing mill and pick up some little blocks;

there’s all sorts of cute-shaped ones there. Oh, baby’ll be happy.

Now, I haven’t got a tree, and I can’t get one—there’s no use talking

about it—but I can get a couple or so of barrel hoops and trim ’em up

with paper fringe and things, and tie the little things to ’em. They’ll

look real Christmis-y hung up on the wall, and the store and playhouse

can be underneath. And I’ve got a red bell I saved from last year. I can

make it real pretty! And as to candy and such, the youngsters may get

some at the Sunday School, and I’ll coax ’em to let me save it for ’em,

and I’ll trim things up with it.

And ma (_stops and looks troubled_). Ma _must_ have something, she’s so

good. Why—sir! My mother is as brave as ever a soldier was! Talk about

battles! If my mother doesn’t have as hard things to do as if it was

battles I would just like to know. She deserves Christmis more ’n any

of ’em. But, oh, dear! _What?_ Well, I know how to make a dear little

paper-fold tray for pins, and I’ll make a big bunch of twisted tapers;

they’re awful handy, and they save matches, you know. And—le’s see. Yes,

I’ll make a whole bunch of paper flowers. Hooray! That’s a great idea.

They won’t fade, and they’ll stay pretty better ’n the real ones. Oh,

goody, goody! Won’t we have a lovely Christmis?

Mother’s right. She always is. “’Taint what comes to us, it’s how we take

it that counts.”

I thought at first we couldn’t have any Christmis, and here we’re going

to have a perfectly lovely one.

Me? Presents for _me_? Oh, _I_ don’t need presents. I’m going to have all

the fun of makin’ ’em and some more fun seein’ the others have ’em. And

when my mother looks at me with that shine in her eyes and says, “Betty,

you’re my comfort,” the way she does, do you s’pose there’s any gift in

the whole world could make me feel so glad?

Oh, Christmis is great, all right, but a mother like _my_ mother—what

_counts_—beats all your Christmises holler. Merry Christmis!

THE BELL SONG.

_Chorus for Thirteen Children._

_They may be all boys, all girls or both together, and there may be as

many additional as desired._

SONG.

_Tune: “Jingle Bells.”_

Hear the Christmas bells as they gayly ring.

And our voices join as merrily we sing.

All the world is glad, hearts with joy are light,

For ’tis the best of all the year and Christmas comes tonight.

CHORUS.

Merry bells, merry bells, ring, oh, ring today.

Oh, how happily we sing, for joy is on the way.

Christmas bells, Christmas bells ring your music sweet,

While our hearts keep merry time to children’s dancing feet.

Tender are our thoughts, tears we bid depart,

Happiness we long to bring to every saddened heart.

Join us as we sing, banish every tear,

Christmas is the dearest time that comes in all the year.

CHORUS.

Pain is banished quite, sorrow goes away,

Anger dares not show his head on this glad Christmas Day.

Peace o’er all the earth, good will to all men,

Is the song the angels sang, we sing it here again.

CHORUS.

DIRECTIONS.

The leader should be older than the others if small children are chosen.

He carries a triangle, the others an inch wide red ribbon two feet long,

with six small sleighbells sewed on each ribbon. Be sure and have the

bells small, as otherwise the number of them makes their accompaniment

too loud.

These ribbons are held by the ends with both hands.

COSTUMES.

No elaborate costumes are required, but as some uniformity of dress is

always effective, white dresses with red ribbons, for the girls, and dark

suits with holly berries or knots of red ribbon in the coat lapel for the

boys, would add much to the effect.

Or, all might dress in outdoor costume with fur caps, mittens, etc.

MARCH.

Enter at rear, center or either side.

1. March in single file all around the stage during the first stanza.

Let all shake the bells _once_ on the first beat of each measure as they

march.

2. During chorus let the leader strike his triangle on the first beat

of each measure. One-half of the other shake the bells once on first

beat, and the other half on the third beat of each measure. At the word

“way” (which is slurred through a whole measure) the leader strikes his

triangle once for each beat, thus making four strokes; and at the word

“children’s dancing feet” he does the same, and all shake or tinkle their

bells through the last two measures. During the chorus the children halt

and face front, while they keep time to the music as they sing.

3. At second stanza step backward diagonally, first with right foot, then

with left foot on alternate beats of the music, at the same time swing

the body and the bells in the direction the steps are taken. The leader

stands before the line, facing the audience, and steps as the others do,

waving his triangle to right or left, but not striking it.

At chorus the line halts and keeps time with the music as before.

4. At the third stanza the line advances to the front with the same step

and motions as during the second stanza, only in a forward direction.

Chorus as before.

CRANBERRY MARCH.

_For Sixteen Children, Boys or Girls, or Both._

_Costume all of scarlet, the boys in blouse waists, and knickerbockers,

the girls’ dresses with long or short sleeves as desired. All wear

scarlet stockings and slippers and pointed scarlet caps._

SONG.

_Tune: “The Drum-Major of Schneider’s Band.”_

When the Christmas time is here with all its cheer and frolic dear,

Then we come to help the fun at merry Christmas time.

Other things may welcome be, but only we can bring such glee,

Nothing else can fill the place of ripe red cranberries

Christmas! Oh, jolly Christmas!

We come to you in Christmas pies.

So fine the stringing,

Our gay beads bringing,

Each child is singing

Of cranberries.

And on the Christmas tree we glow,

In festoons gay we grow.

In every part of Christmas time we share,

We help to drive away all pain and care,

For we grace the glorious Christmas tree,

Pies and tarts we fill right juicily.

Yes, with the Christmas light

We gleam like blossoms bright.

And on the Christmas tree is gay red cranberry

A-shining and a-twining on the tree.

DIRECTIONS FOR MARCH.

1. Enter at left rear in couples—march across rear.

2. Front face—march to front of stage in two rows.

3. Retreat to rear in same order.

4. Left face—march to rear right corner, turn to right, march diagonally

to left front corner, in single file, alternating from each row in turn.

5. Turn to left—march across front of stage, changing at the turn to

couples.

6. Retreat to rear in same order.

7. March to front of stage.

8. Divide—four couples at each side swing back to sides, the right and

left end couples serving as pivots.

9. Both sides march to center—when they meet, halt; mark time vigorously.

10. Retreat to sides.

11. Swing to front.

12. Separate, facing right and left, march in couples to sides, take

single file, march to rear, across rear to rear center.

13. As they meet at center each faces front and the lines march down

center to front of stage; repeat 12 and 13, then march in couples around

the stage.

14. As the couples reach the rear center they march in single file until

a ring is formed, and when the end of the stanza is reached all, as

suddenly as possible, step into the circle and stoop down in a solid,

circular figure, thus forming the “pie.” Remain still until the curtain

is drawn.

DANCE OF THE HOLLY AND MISTLETOE.

_For Eight Young Girls, or the Number May Be Doubled._

_Costumes at close._

DANCE.

_Music: Waltz with marked accent, moderate tempo._

C means center; F means front; wreaths position means wreaths held low in

front, one hand at either end of wreath. The number of measure given to

each figure must be determined by the music and its phrases.

[Illustration: _Fig. 1._ _Fig. 2._]

1. Enter in couples at rear, wreaths in position, waltz step. Sway

wreaths from side to side in unison with the step. Dance to center, turn

to front; there separate to right and left. Fig. 1.

2. When in a line across the front of the stage, halt, front face,

salaam. This last is a bow, bending from the waist forward, the wreath

held low with both hands.

3. To position, ends of line retreat to form a circle, facing outward.

Wreath in both hands behind the head. Fig. 2.

4. Right face—wreath overhead—dance in a circle, swaying the body and

wreath alternately to right and left. (This swaying body means bending

from the waist to one side or the other.)

5. Circle faces in. Wreath in right hand and high so that the ends of

all wreaths touch in center. Left hands on neighbor’s shoulder. Dance,

without leaving place, toward the center and back, through one or more

measures.

6. Break line on side toward audience, retreat to rear, wreaths position.

7. Dance forward in even line to front, wreath back of the head.

8. At front the odd numbers kneel, wreaths back of the head; the even

numbers dance around the others twice, Fig. 3, swaying wreaths over

their heads from side to side. Let this swaying be done in unison by all

dancing.

[Illustration: _Fig. 3._]

9. Those kneeling rise; all dance backward to the rear, swaying wreaths

right and left with the step.

10. The even numbers now form a line from R. to F. down the center.

In this way No. 2 dances in front of the line to R. center, then down

middle of stage to positions indicated in Fig. 4. Number 4 follows her,

and 6 and 8 do the same. These sway their wreaths overhead alternately

with the odd numbers, who dance in serpentine around them, swaying their

wreaths overhead. This serpentine is led by No. 1, who dances to the rear

center, then, passing to the right of No. 8, begins the serpentine as

shown by Fig 4. When No. 1 passes to the right of No. 8, No. 5 passes to

her left. They cross between 8 and 6 and are followed by 3 and 7, and the

serpentine is continued around 4 and 2. This is continued until the odd

numbers have reached the front, gone back to the rear, passed around No.

8 and danced again to the front.

[Illustration: _Fig. 4._ _Fig. 5._]

When No. 1 has completed this figure she dances again around No. 2, then

in a straight line, and close to the standing numbers, back to the rear,

and to her position. No. 3 follows her. Nos. 5 and 7 turn at the left of

No. 2 without going around her, and also dance in a straight line to the

rear, and to their places.

11. Line across rear; wreath in position.

12. Odd numbers stand, wreaths held behind head. Even numbers right face,

sway wreaths before them, dance twice around those standing.

13. Couples link arms, hold wreaths overhead to form an arch, waltz in

this way to front, and back to a line midway of the stage.

14. Two couples on either side form cross, Fig. 6, crossing hands in

center, holding wreaths over shoulders with free hand. Those at right of

stage cross right hands and dance to right; the others the reverse.

[Illustration: _Fig. 6._]

15. Break circles, retreat to rear, wreaths position.

16. Repeat No. 8.

17. Repeat No. 10, except that as numbers 1 and 5 reach the rear, they

stand facing each other and hold their wreaths high to form an arch

between them. Nos. 3 and 7 dance behind them, pass under the arch, then

stop to either side and make an arch with their wreaths.

So, in turn, do the others. Then 1 and 5 lower their wreaths, dance under

the arch, and again stand and help form the arch, until the front of the

stage is reached. Here the dancers pass to right and left and dance back

to the exit, and out, swaying wreaths overhead.

DIRECTIONS.

Let the alternate numbers represent holly and mistletoe. All wear dresses

of soft material (cheesecloth or silkaline), falling full from a yoke to

the ankles. Bare neck and arms are prettiest with this costume, but if

not desired have plain sleeves to the elbow, finished with a six-inch

frill of the same, and the neck finished without a collar.

The holly girls should be brunettes and wear dresses of bright green, as

near the color of the holly leaf as can be had, with a sash of scarlet

ribbon about three inches wide tied and fastened there, high under the

arms, “empire” style, with long loops and ends tied in front. A narrow

scarlet ribbon should be tied with loops and short ends around the sleeve

just above the elbow. A wreath of holly leaves and the bright berries on

the head and around the neck of the dress. These should not be heavy.

Stockings and slippers scarlet.

The mistletoe girls must be blond and dress in the same style as the

holly girls; but their dresses are white, their ribbons and slippers pale

green, and the wreaths are of mistletoe with its white berries.

Each girl carries a half wreath (the half of a barrel hoop is right for

size) covered with holly or mistletoe to match her dress.

HOLLYBERRY DRILL.

_For Ten or Twelve Little Girls._

A prettier drill for small children can scarcely be prepared. Costumes

are of simple white, with red ribbons and stockings, and hollyberry

wreaths in the hair.

Each carries a wreath of holly and its red berries and a fancy basket

filled with bits of paper cut fine to represent snow. The girls enter in

time to a lively march, in couples, each carrying her wreath lifted high

in the hand toward her mate, and the basket held in the free hand. Enter

at left rear.

DRILL.

1. Couples advance to rear center of stage, set baskets down.

2. By couples, down center to front.

3. Couples separate, march round on either side to rear.

4. Lines meet at rear center, pass, march down opposite sides to front,

meet and pass, back to rear.

5. Lines meet again at rear center, front face, advance to front in a

single line across the stage with curtsey step.

In this step the right foot is advanced a step forward and to the right

on first count, right knee bent in a curtsey on second count, left foot

advanced a step forward and a little to the left on third beat, and the

left knee bent in a curtsey on fourth beat, etc.

The wreath is held up a little above the face and swayed to the right or

left in unison with the foot which is advanced.

6. When the line reaches the front of the stage, the wreath is held

over the head with both hands, and the children retreat to the rear by

skipping.

7. Down center in couples to front; wreaths held high to touch mate’s

wreath.

8. Couples separate; march either side to rear.

9. Lines meet. Then each line or side forms in a group by itself, the

free hands clasped and crossed in the center, the wreaths held above the

head.

10. Both groups then skip around, like a wheel turning.

11. Groups form in line again at rear, forward to front with curtsey

steps as at No. 5.

12. Repeat No. 6.

13. Groups form again, one-half being in each group, and form circles,

the wreaths hung on their arms while they join hands and skip in a circle.

14. Repeat Nos. 11 and 12.

15. Repeat Nos. 7 and 8. Put wreaths down at the back and take up baskets.

16. Couples down center to front.

17. Mates face each other. The two facing lines retreat to the sides,

skipping backward.

18. Lines skip to center, throwing “paper snow” from the baskets at each

other, then skip back to sides, throwing the paper continuously, so as

to keep the air full of the white snow. Repeat this advance and retreat

twice more. When the lines meet the third time the throwing ceases, the

couples march together down center to front, holding hands together high,

and carrying the empty baskets in the other hands.

March around the stage and off.

THE PICKANINNY’S CHRISTMAS.

_For Three Boys. More Can be Added at Pleasure._

_Directions at close._

_Tune: “Dixie’s Land.”_

Oh, Chris’mas sho’ly am a-comin’,

Don’ you hear the banjos tummin? (_Imitates banjo._)

“Chris’mas gif’,” “Chris’mas gif’,” “Chris’mas gif’,”

Dat’s de way.

All de w’ite folks gib us cake an’ candy,

Any ole ’ting what comes mos’ handy

When we call “Chris’mas gif’,” “Chris’mas gif’,”

On dis day.

Oh, I’m glad ’tis merry Christmas,

Ain’ I glad? Ain’ I glad?

Oh, I’m glad ’tis Chris’mas, merry Chris’mas

Wid its gif’s and holly berry,

Ain’ I glad? Ain’ I glad?

I’m glad ’tis merry Chris’mas!

Ain’ I glad? Ain’ I glad?

I’m glad ’tis merry Chris’mas.

Oh, won’t we hab de shoat an’ possum

Fixed up fine wid fruit and blossom.

Chris’mas gif’, Chris’mas gif’, Chris’mas gif’,

Dat’s de way.

An’ de Chris’mas gif’s make a mighty showin’

Sho’s you’re bawn, ef you’se only knowin’

How to call “Chris’mas gif’,” “Chris’mas gif’,”

Dat-a-way.

CHORUS.

Oh, I’m glad, etc.

DIRECTIONS.

If there are three who take part in this, one boy can sing the song and

the others join in the chorus, or all can sing the entire song together.

Let the one who sings the verses stand between the other two. If there

are more let the leader, who sings, stand before the others, who form

a straight line from right to left behind him. All face the audience.

During the stanzas they clap gently, keeping time as the leader sings.

At the chorus, while singing, they put their arms across each other’s

shoulders, the end ones with outer hands on hips, and take the following

steps:

1. Step three steps to the right, hop on right foot, and swing the left

foot before the right.

2. At accented measures (corresponding to “hurray, hurray”) stamp in time

first with left, then with right foot.

3. Three steps to left, hop on left foot and swing right foot before the

other.

4. Three steps to front (starting with right foot), hop on right foot,

swing left before the other.

5. Stamp in time, first with left foot, then with right, then hop on left

foot and swing the right in front of the left, then hop on right foot and

swing the left foot in front of the right.

6. Stamp with right foot, then with left; hop on left foot, swing right;

hop on right foot, swing left.

This completes the first stanza and chorus. Then, without singing, and in

time to the same tune, let the line behind, led by the leader in front,

give a dance. The motions are given below, but the time of them must be

found as the boys practice.

It is called a “dance,” but in reality is posturing and stepping.

Any other motions than those given can be used if desired, the only

requirement being that those in the line move in unison.

If the leader can do so, let him elaborate upon the motions, dance a clog

dance or a shuffle; or let him attitudinize in any absurd way. At the

close let him come to position, clapping in time as the second stanza is

sung, stepping as before at the chorus, and repeat the dance afterward.

DANCE.

1. All turn to right, the first boy with hands on hips, the others with

hands on the shoulders of the one in front. Hop on right foot, throw

left foot high, hop on left foot, throw right foot high. This takes four

measures and carries them four steps toward the left of the stage.

2. This starts at the words (or where they would be if sung) “Chris’mas

gif’,” etc. Each boy, with arms held at full length over head, and hands

clasped, whirls entirely around, once for each measure, ending with a

stamp of right foot on the last word and a quick wheel toward the right

of the stage.

3. Repeat Nos. 1 and 2 toward the right. It is now the chorus.

4. Front face, arms across shoulders; step obliquely to right one step

first beat, bend right knee second beat, with body and head bent to

right. Second step obliquely to left third beat, bend left knee fourth

beat, bend body and head to left. Alternate in this way until eight steps

are taken, when the next words would be “Ain’ I glad? Ain’ I glad?” (the

second time).

5. Each boy raises arms overhead, clasps his hands together and whirls

once for each “Ain’ I glad.” At the words “I’m glad ’tis merry Christmas”

he stamps with left foot, whirls as before at the next two repetitions of

“Ain’ I glad,” but does not stamp at the last line, only folds his arms

and bows, first to right, then to left.

CURTAIN.

POP-CORN DANCE.

_For Sixteen Little Girls._

_Dresses white, short and fluffy; white stockings and slippers. Capes and

caps of yellow cambric. The capes reach the bottom of the dresses and

have openings for the arms to pass through, and the caps are round skull

caps fitting the top of the head closely. The “dance” is a series of

simple steps and movements which are easily learned._

_Music: A march or two-step._

1. Enter at left rear in couples to a slow march, and for each step make

a turning motion of the body to right or left as the right or left foot

advances. March across the rear to right corner and turn diagonally and

sharply. March to left front and again turn and march across the front of

the stage. When the double line is in the center, halt, front face, and,

beginning with the leader nearest the audience, let one at a time, first

in the front, then in the rear line, give _one_ hop on the right foot,

then rest until this hop has been made by all.

2. (Music slightly quickened.) Lines step back with left foot a little

to the left, curtsey, rise, as the beats of the music indicate. Repeat,

with right foot toward the right, curtsey, rise and repeat these backward

movements until the rear of the stage is reached, both lines moving in

unison.

3. Advance to front of the stage with same motion, front line stepping to

right, and rear line to left simultaneously, thus giving a zig-zag motion.

4. Still holding hands the ends of the two lines move back until an

angle is formed, the joined hands of the lines as they are held forward,

forming the apex. The step for this motion is a hop, first with right,

then with left foot, bending the body almost at right angles to right or

left in the direction the step is taken.

5. Reverse the motion with steps forward until a straight line is again

formed.

6. Front line kneels on right knee, raises joined hands high on first

measure, lower them on second measure, repeat for four measures. Rear

line advances one step in such manner that the girls of rear line

alternate with those of front line, but behind them. Unclasp hands and

each make four hops, first on right, then on left foot, turning as she

does so. This completes a revolution. Then take one step to the right on

the first beat of the music, bend right knee (thus dipping or curtseying)

on the second beat, one step to the left on third beat, bend left knee on

fourth beat. This completes four measures.

7. Rear line kneels on right knee, but does not join hands until the

front line rises, unclasp hands and steps quickly backward between those

kneeling. This takes one measure. Then the kneeling line clasp hands as

at No. 6a, and those standing repeat No. 6b. Repeat this until each line

has knelt twice. This should bring them to the position they had before

Nos. 6 and 7, viz., in parallel rows facing the audience, only at the

rear of the stage instead of the front.

8. Both lines clasp hands. Rear line steps close to the front line and

puts the clasped hands over the heads, and in front of the front line.

This brings the girls alternating. The solid line thus formed runs

forward four steps (starting on left foot) in double time, viz., two

steps to each count. At the fifth step (which brings them on the left

foot) hop on the left foot, then on the right foot. Repeat these two

movements—the running forward and the hopping—until the front of the

stage is reached. It should take three, perhaps four, repetitions.

9. Both lines unclasp hands. Rear row steps back to its place behind the

front row as it was before No. 8, and each girl puts her hands over the

shoulders of the girl directly in front of her, who raises her hands to

clasp them. The four couples on the right now turn to the right (away

from the center) and those on the left face left. The two sets now move

away from each other with short steps and double time four steps forward

(always left foot first). The rear girl steps to the right of her partner

and they run four steps diagonally to the right. The rear girl then steps

behind her partner and they run four steps forward. The rear girl then

steps to the left of her partner and they run four steps diagonally to

the left. This figure is a little like that in the skate or barn dance.

10. The two sets now right-about-face and dance to the center as they

danced away from it, the front girl now being the rear one and dancing at

either side of her partner, etc.

11. When they meet at the center they face front, and all in unison dance

to the front as in No. 3, except that the forward movement is in the same

direction, and not zig-zag.

12. Repeat Nos. 2, 3, 4, 5, 6 and 7.

13. Dance to the front of the stage with the couples holding hands as

in No. 10, but the figure is different. Let the couples run four short

steps diagonally to the left on the first two beats of a measure, then

hop first on the left foot, then on the right; then run diagonally to the

right four steps, hop twice, etc., repeating these movements until the

front of the stage is reached.

14. Retreat to rear with the same steps as in No. 13, only running

backward. Here throw off the cloaks. As they are buttoned only at the

neck, this can be done suddenly and all together. By throwing the capes

quite to the back of the stage as they stand they will be out of the way

of further movements. All the time they are doing this (which should

occupy not more than two measures, and one if possible) the hopping is

kept up. This is the popping of the corn, which thus comes out in its

fluffy white.

15. Dance to front again by the following steps: Four steps to left and

forward, hopping alternately on either foot, then four steps to right in

the same way; four steps to left, etc., and then, without losing step—

16. Retreat to rear, going backward with the same step. At the rear form

a line in front of the capes on the floor. During the last four numbers

the music has quickened until it is as fast as can possibly be kept time

with.

17. The instant this line is reached let the children step side by side

to form one continuous line, all holding hands. The two at the ends of

the line now put their free hand on their hips, and raise the hands

clasping their neighbors as high as they can. The next ones hold the

hands of the third numbers level with their shoulders, and tip their

heads toward the third ones. These third ones kneel on the right knee,

and have one hand up to hold the hands of the second ones, and the other

hand lower to hold the hands of the fourth in line, who kneel on both

knees as flat as possible.

The two in the middle of the line stand holding their joined hands as

high as possible, the others take positions as the second, third and

fourth in the lines have done. The result is a pop-corn chain in two

festoons.

If this is done instantly the effect is very pretty. The change from the

“popping” of the corn to the stillness of the festoons being unexpected

and striking. At the same time the music, which continues to the end, is

played softer and slower.

18. This pose is held for several measures. The music then gives the

signal by resuming a marching tempo, and playing louder; those kneeling

rise, and the whole line forms a circle, holding hands. The circle dances

around twice one way, then twice the other way, by running two steps,

hopping at the third step, and repeating.

19. The circle parts and swings back to a single line, where the festoon

is again formed, and held several measures.

CURTAIN.

THE SLEIGHBELL DRILL.

_For Twelve, or More, Boys, Ten to Twelve Years Old._

_Music: Any brisk march or two-step will be suitable. The music of

“Jingle Bells” or any similar piece in the same kind of time may be used._

_Costumes described at close._

The step for this is merely a trot, with short steps, and following

the leaders closely. The wands are to be shaken in time to the music

constantly, except where otherwise indicated.

1. Enter at opposite sides of rear, wands held in right hands at sides,

left hands on hips.

Cross stage toward each other, meet, turn and go to front, then

diagonally back to rear center. Fig. 1.

2. Leaders turn to right and left, across rear, down sides to front,

across front till they meet. Fig. 2.

3. All put left hands on shoulder of next one, the one at extreme left

keeps his hand on his hip. All step back diagonally with left foot one

step, bend left knee, and keep right knee straight. This makes the line

sink backward. At the same time extend right hand diagonally to right,

shaking wand in time to music. Hold two measures.

4. Left foot and right hand back to position; hold two measures.

[Illustration: _Fig. 1._ _Fig. 2._]

5. Step diagonally back one step with right foot—bend right knee—left

knee straight—right arm held directly overhead—wand shaken in time. Hold

two measures.

6. Back to position, as at No. 4.

[Illustration: _Fig. 3._]

7. Leaders turn toward rear—pass to rear—march diagonally to front at the

extreme right and left—back to rear at sides—across back to center—all

in the trot which is in double time. Fig. 3. In this figure, _and in

all of them_, let every boy, in following the leader, go to the precise

spot that the leader does before turning. Unless this rule is carefully

followed the outlines of the figures are lost, corners are missed, and

the whole drill becomes confused instead of effective.

8. Down center to front in single file, stepping into place alternately

from each side—halt.

They are now in one line, in the center, facing front. Beginning with

the foremost boy as No. 1, the odd numbers bend at right angles toward

the right, and stretch the wand out at the right, shaking it rapidly so

as to make a quivering sound with the bells. The even numbers take wands

in left hands, right hands on hips—bend to left—hold left arms at right

angles—and also quiver their wands. Hold two measures.

9. All erect—hands holding wands held up overhead—all quiver wands—hold

two measures. Execute these two movements, alternating, four times each.

10. Wands in right hands—left hands on hips. All to front, where they

separate, the leaders turning to their own sides, right or left, and

the others following. They turn backward close to the center line, and

march to the rear. Sides turn right or left, then back in a loop, to the

center, where they again form in a single line. Fig. 4.

11. This line, led by No. 1 (the foremost one as in No. 8), takes a line

like Fig. 5—all holding wands overhead and shaking them in time to the

music.

[Illustration: _Fig. 4._ _Fig. 5._]

12. When the front is reached the line separates, the leaders turning

to their own side, and the others following. March to sides—up side to

rear—across rear to center—where they meet, halt, front face.

13. The line now moves forward four steps—halts—and the boys, by couples,

strike each other’s wands twice; the first time one strikes and the other

parries, the second time reverse. Move four steps forward again, repeat

the striking, and so continue to the front. (The words “march” and “move”

have been used; but it must be kept in mind that unless other steps are

indicated all moving is done with the _trot_ before referred to.)

14. At front repeat Nos. 3, 4, 5, 6 twice.

15. Line separates, turning to sides—up sides to rear—across rear till

they meet at center, where they repeat Nos. 8, 9, 10 and 11. (Notice the

difference between “No. 3,” or 4, and “Fig. 3,” or 4.)

16. When leader is at front he turns toward rear, others following in a

single line, and they go in a circle, twice; the first time arms held at

right angles, shaking the wands in time to music; the second time around

the wands held overhead and quivered.

17. At completion of the second circle the line separates, each leader

leading his line to right or left as they reach the front—across front to

sides—up sides to rear, where they go out as they came in. As each boy

reaches the side where he turns to go toward the exit, he reaches his

wand out to the audience, gives one emphatic shake of the bell, then as

he turns away lets his hand fall to his side.

DIRECTIONS.

Costumes of red cambric; knickerbocker trousers, jacket belted at the

waist, and cut in points below the belt, each point having a small bell

on it; cap like toboggan cap with bell at the point. Let the boys go in

stocking feet, or with red cloth slippers. Stockings red. Each carries

a stick a foot long, and one-half the size of a broom handle. This is

covered with cloth like the suit, and has a bell at the tip.

PART II.

Dialogues, Exercises, Musical Pieces and Plays

ALL THE YEAR ’ROUND.

_For One Adult or Large Boy and One Small Boy._

_Santa Claus must be made to look very short and fat._

_BOY enters, sits down, leans elbow on table and his head on his hand._

BOY. Whatever shall I do? Christmas is almost here and not a single

thing finished. You see (_addressing audience_), when a fellow’s folks

have a small purse and a large family there’s no such thing as spending

money for us boys. (_Gets up, walks back and forth talking, with hands

in pockets._) All we earn goes for shoes, I guess. (_Stops and looks at

his own, then looks up laughing._) Anyhow, they wear out fast enough.

(_Resumes walk._) But I’m glad I’m big enough to work for my own

shoes. If I did nothing but play while father worked _for_ me I’d feel

worse than anything. (_To audience._) You know how that is. Besides,

I’m the oldest of the bunch and ought to be worth something. But you

know—(_stopping_) it does beat all how many things grown folks can find

for boys to do.

I go to school—of course—and I take a job whenever I can catch it out

of school hours, and I carry papers mornings, but that don’t take all

the time, and I thought I’d get a lot of things done for Christmas since

I can’t buy things. But do you s’pose I’ve done it? (_Sits down._) No,

sir-ee. Not a thing finished.

I was making a shoe box for father and I haven’t got any farther than

getting a box to work on, for I’ve had to milk the cow and feed the

chickens—and mend the gate—’cause father was away. Then I had a new

woodbox for mother—a jolly nice one—all trimmed with bars of wood and

stained; but, no, sir, mother, she needed me for ’bout a hundred and

’leven things, and work at it I couldn’t. And this boat for Bub (_shows

it_), not half done. And a bob-sled for little Sis—and a photograph frame

for Gramma—and—oh, pshaw. I’m just plum disappointed, and that’s the

truth. Not a gift done for anybody. (_Leans elbows on knees and chin on

hands._) If I was a girl I guess I’d cry. (_SANTA CLAUS walks in, lays

his hand on BOY’S shoulder. BOY jumps up as he looks around._) Jiminy!

You most scared me. (_Bows._) How de do?

SANTA CLAUS. Very well, thank you: and how do _you_ do? What’s the

trouble?

BOY. Excuse me; but how’d you know it was trouble? It isn’t a serious

trouble, you know; only boy trouble.

S. C. Boy troubles are hard to carry sometimes. What are yours?

BOY. Mostly, I guess, that I’ve not got my gifts done—and can’t finish

them now, ’cause there’s not time. And that means that there will be less

for the stockings, you know.

S. C. That _is_ hard lines. But why couldn’t you finish them?

BOY. Sit down, won’t you? (_They sit down._) Why—because—well, I had

to do lots of things. Kindling, you know, and bringing in wood for

mother—and taking care of the baby sometimes—and keeping little Bud out

of mischief—and sometimes—well, you see, I’m the oldest, and the others

are too little—sometimes I wash the dishes. Mother has so much to do, and

I ought to, don’t you think so?

S. C. Indeed, you ought, and I’m proud to find a boy who does it. But do

you know, son, _I_ think you are making a great mistake.

BOY (_looking alarmed_). Am I? What? I’m sorry.

S. C. You say you have nothing to give at Christmas. It strikes me that

you are giving a good many things, and very nice ones, too.

BOY (_bewildered_). I don’t understand.

S. C. No? (_Smiles, winks at audience._) What is Christmas for, anyhow?

BOY. _For?_ Why—it’s Christmas, Santa Claus’ birthday, you know. (_S. C.

nods._) And it’s for—for good will to men, I guess—and—

S. C. (_nods_). Right you are, son. And what do you give Christmas gifts

for?

BOY. Oh—because it’s fun; ’cause a fellow likes to make it nice for the

other folks and give ’em a good time, and—well, ’cause it’s fun.

S. C. Right you are again, son. See here, now. Didn’t you milk the cow

for father and all such things while he was away?

BOY. Yes—’course.

S. C. And didn’t it make him feel comfortable to know that things were

going right while he was gone?

BOY. Guess so. Sure.

S. C. More comfortable than to have a shoe box?

BOY (_slowly_). Per—haps—yes.

S. C. And you got kindling, and took care of the baby, and washed dishes

for mother?

BOY. ’Course.

S. C. And didn’t that make it easier for her than if she had a pretty

woodbox?

BOY (_slowly_). I guess so. Yes—sure.

S. C. And doesn’t little Sis enjoy having long rides on your sled better

than to have a sled of her own to go alone on?

BOY. I’m not so sure about that.

S. C. _I_ am. And didn’t little Bob like the snow man it took you so long

to make for him better than the little boat? And didn’t dear old Grandma

care more for the yarn you wound, and the needles you picked up, and the

fires you built, and the errands you did, and—

BOY (_squirming_). Aw. Hold on. Those are such little things.

S. C. True enough, and each of them took some of your time, and kept you

from making the photograph frame; and each of them made her lonely day a

little easier, didn’t it?

BOY. Well, I should hope so. Say. I think it must be awful when you can’t

run and holler and have fun—and—I guess some day _I’ll_ be old like that.

(_Shrugs shoulders._) Gee! (_Whistles softly._)

S. C. (_rises, puts arm across BOY’S shoulder_). Don’t you begin to see,

my son, what I mean?

BOY (_looks at him a minute_). That little things strung along are better

to make folks happy than a bigger thing for a gift at Christmas?

S. C. (_slaps BOY on the back, grabs his hands and shakes them vigorously

while he laughs. BOY rises._) That is it, to a tee. And do you begin to

see any farther?

BOY (_looks at S. C. in silence a minute_). Perhaps you mean—do you

mean—that to live that way—doing little things all the time—would be like

Christmas? (_Excitedly._) Jiminy Christmas! I see! I see! Why! I can keep

Christmas going the whole year ’round that way!

S. C. That is the only Santa Claus worth while, and the only Christmas

that can ever be real, for it is the Christmas spirit of love and

kindness. (_BOY whirls around, tosses up his cap. S. C. exit._)

BOY. Christmas and Santa Claus all in one. And every day in the year.

Say—(_turns suddenly and S. C. is gone_). Why—where—(_looks all around,

then says slowly_) well, I’ll be—isn’t that the queerest thing?

(_Puts hands in pockets._) But I see it just the same. (_Musingly._)

“The Christmas spirit of love and kindness.” “The only Santa Claus

worth while.” Christmas every day in the year. (_Shouts._) Hooray for

Christmas. I’m going to tell mother. (_Exit._)

A BOY’S CHRISTMAS.

_For Three Boys of Ten or Twelve Years._

_Two sit whittling, one working on the edge of a small wooden box, the

other at the edges of a piece of wood about one inch thick by a foot

square. The third has an oblong box partly together and is sawing the

other piece or whittling the edges as they talk._

FRANK—

Christmas is coming—it’s awfully slow—

What do you think you will get? Say, Joe.

JOE—

I don’t know, Frank, and I don’t much care

If only I get some good skates—so there!

TOM—

That isn’t what bothers me most, you see,

I always get lots on the Christmas tree,

But what shall I _give_? That’s the hardest part.

JOE—

I’m making my little kid brother a cart.

(_Holds it up._)

But somehow this wood won’t saw a bit straight,

And it splits where I nail it. That’s what I hate.

FRANK—

Right you are there, Joe. See what I’ve made?

My knife’s pretty dull, so I broke the best blade.

TOM—

What do you call it?

FRANK—

A box, at the start,

For sister’s best ribbons; but it would come apart

Till I put some big nails in. They broke it in two,

And I had to stick it together with glue;

And now it don’t look so awfully well.

(_Looks at it dolefully._)

JOE—

Put pictures all over it, then you can’t tell

It ever was broken. That’s what _I_ would do.

But say! How it bothers when one works with glue.

Now this! (_Holds it up._) It has stuck everywhere that it could

Except where I wanted to make it real good.

TOM—

That’s just what’s the trouble. It’s this way with me.

I work hard, and make things as nice as can be,

But somehow, they never seem quite the right way

To give for a present on Christmas-tree day.

JOE (_exclaims suddenly_)—

I know!

FRANK—

Well, what is it?

TOM—

Out with it, then, Joe.

JOE—

We like to make gifts like the others, you know,

(_They nod in agreement._)

But something or other most always goes wrong.

FRANK—

I know how it is.

TOM—

Yes, you’ve put it quite strong.

But Mother can understand things at first sight,

And _she_ will say “thank you,” and call it all right.

I’ll give this to _Mother_. She’s just the right one!

She’ll like it and use it, because I’m her son.

FRANK—

Say, Joe, you’re a trump to think up a nice way

For us to give presents on Christmas-tree day.

My box goes to Mother—she knows about glue,

And she’ll fix it up till for something ’twill do.

TOM—

This board I have whittled all smooth, and ’twill make

A board to cut on for bread or for cake.

I’ll give it to Mother, and she’s sure to say

“Thank you, Tom; you make nice gifts for Christmas-tree day.”

A CHRISTMAS BARGAIN.

_For Two Characters, MOTHER and CHILD._

_Stage setting: The furnishings of a modern room. Costumes modern and

simple._

MOTHER (_draws CHILD to her side, kisses her, CHILD stands with MOTHER’S

arm around her_). It is almost Christmas time, little girl. What would

you like to have Santa Claus bring you?

CHILD. I only want one thing, mother dear, and Santa Claus can’t give me

that, nor anyone else.

MOTHER. Are you very sure, dear? Santa Claus can do wonderful things, you

know.

CHILD. I’m very sure, motherkin. And if I can’t have that, I don’t care

about Christmas.

MOTHER. Why, my little Mary? Tell me about it, dear. Possibly I can

arrange it, for I want to have you happy more than anything else in the

world, especially at Christmas time. Tell me.

CHILD. You won’t laugh at me?

MOTHER. No, dear; I won’t even think a laugh.

CHILD. Well, then, I want to be grown-up and have you a little girl.

MOTHER. Why, Mary, Mary!

CHILD. Now you are laughing at me.

MOTHER. My _dear_! I’m just as sober as I can be.

CHILD (_pouting_). Your eyes laugh, anyhow.

MOTHER (_takes CHILD by the shoulders and holds the CHILD in front of her

at arm’s length_). Look in my face, Mary; straight in my eyes, and tell

me why you want such a strange thing.

CHILD (_hesitatingly_). I—don’t—just like to, mamma. You might not like

it.

MOTHER. I shall like it if you tell me the true reason, dear.

CHILD. And you won’t cry?

MOTHER. Not a tear.

CHILD (_slowly_). It’s because I’m so tired of being told I can’t do

things, and of having to do things I don’t like. Oh, mamma! You don’t

know how tired I am of being somebody else. I want to be _just me_.

MOTHER (_drawing CHILD to her side again_). Are you some other mamma’s

little girl?

CHILD. Not another mamma’s little girl, but I can’t be the me I want to

be. The me inside of me wants to be a very different me indeed.

MOTHER (_They sit silent a moment_). Would you like to try it just for

one day?

CHILD (_standing up suddenly_) Mamma, dear! What do you mean?

MOTHER. I mean this, Mary. Suppose that just for one day we pretend that

you are mamma, and I am Mary. I shall have to say that we must both stay

at home, just us two. If there were more time I wouldn’t say even that.

But if you’ll agree to that we’ll try.

CHILD (_eagerly_). To do just as I want to?

MOTHER. Yes, dear.

CHILD. And you will do what I tell you?

MOTHER. If I possibly can.

CHILD (_jumps up and down_). Oh, goody, goody! And I can have what I want

for dinner? And wear the dress I want? And I needn’t go to school? Nor

practice? And I can sit up as late as I want to? Really?

MOTHER. All of that.

CHILD. All right. When will we begin?

MOTHER. Right now, if you like. It’s morning, and it isn’t school time

yet. But I’d like to ask one question. Is this to be the Christmas

present you want more than anything? And are there to be no other gifts?

CHILD. Why, mamma, if I could be really the mamma, and not just pretend,

and if it could be all the time, and not just one day, I wouldn’t want

another single thing. I truly wouldn’t. But I think—I wish—I could have a

few other things, little ones.

MOTHER. Very well, then. You are mamma now, and I am Mary.

CHILD. First thing, then, I’ll have chicken for lunch and cream puffs.

(_Goes toward the door._) And some of that raspberry jam—and—coffee.

(_Turns to MOTHER._) _Yes_, I’m going to have _coffee_. _You_ can’t have

any, Mary. It isn’t good for little girls. But _I_ can have it. Mammas

always do. (_Turns to door again._)

MOTHER. Are you going to cook them, mamma?

CHILD. No; ’course not. Bridget’ll cook ’em. (_Turns suddenly to

MOTHER._) Oh, mamma! Will you tell Bridget to mind me? ’Cause she don’t

know I’m mamma, you know.

MOTHER. Very well. I’ll do it now. (_Goes out._)

CHILD. And hurry back, please, ’cause I want you to be Mary.

CURTAIN.

SCENE II—_MOTHER sewing. CHILD comes in dressed fancifully._

CHILD. Mary, have you finished that hemming? ’Cause I want you to

practice.

MOTHER. Not quite, mamma. But can I play when this is done?

CHILD (_severely_). No, Mary, you can’t. You’ve played enough; and if you

don’t go to school, why, you’ve got to study at home—just lots. (_Sits

down, adjusts dress, folds hands._) You’ve got to do lots of sums, and

most fifty words in spelling. And you’ve got to practice—two—hours. Just

scales and finger exercises, _nothing_ else. (_Apologetically, aside._)

I’m not doing this to be mean, mamma, I truly ain’t. But I want you to

see how it feels to _have_ to do things you don’t like. (_Continues with

dignity._) You see Mary, mothers know lots more than little girls. I mean

they _think_ they do—and _I_ know you must do that way.

MOTHER. But I’m hungry, and it’s long past lunch time.

CHILD. I know it, Mary, but you finish that before you can have any

lunch. (_In a little girl’s tone._) Really and truly Bridget is horrid.

She said it would take her too long to fix all the things I told her to,

and when I in-sis-ted—I had to stamp my foot at her—she just said all

right, but I’d have to wait for ’em then. Does she do that way when you

are the mamma?

MOTHER. She is rather trying sometimes.

CHILD. Mercy! I should think so! (_Resumes grown-up air._) Now,

after lunch—when it comes—if it ever does—I’m going to play _all_

the afternoon. Oh! I forgot. Don’t mothers ever play? Don’t you play

sometimes, when you are the mamma?

MOTHER. Oh, yes.

CHILD. But how?

MOTHER. I read (_CHILD makes a face_) or do fancy work.

CHILD. I hate sewing.

MOTHER. Or I have a friend to lunch.

CHILD. Yes, but you only sit and talk.

MOTHER. Or I write letters.

CHILD. That’s worse than sewing.

MOTHER. Or I play the piano. Oh, I enjoy myself very much.

CHILD. Well, I don’t think mammas have a bit good time if that is

all they do. (_Jumps up, skips across the floor._) Oh, I know!

(_Stops, sits down in another chair, is dignified again._) I forgot.

(_Apologetically._) You see, I’ve been Mary so long. Well, Mary, you go

and bring me my jewelry. (_MOTHER hesitates._) Go right along, child.

You must obey me at once. (_MOTHER goes out, CHILD smiles._) I guess she

finds that isn’t very easy. (_Bounces up and down on her chair._) My! But

it’s horrid to sit still so long! I’d like to go swing, only mammas never

do. (_Squirms about. MOTHER enters, hands her two jewel boxes._)

MOTHER. Shall I practice now?

CHILD. No; do your sums. All those on the four pages I showed you—_all_

of them. (_Opens boxes._) Now I’m going to put all of these on—all the

rings and all the bracelets. (_Tries them on._)

CURTAIN.

SCENE III—_Evening. MOTHER reading, CHILD sitting upright and nodding,

trying to keep awake. After three or four hard nods she yawns and says_:

CHILD. Mary, it’s time you went to bed. I’d have sent you long ago, only

papa was away and I was lone—I mean—I missed him.

MOTHER. Shall I go to bed now?

CHILD. No. My head aches.

MOTHER. Shall I smooth it? Little girls can’t help much when folks don’t

feel well, can they?

CHILD (_snappishly_). Don’t talk like that to me. I’m feeling real

mizzable. (_Sighs, leans back in chair._) Read to me. Quick.

MOTHER. What shall I read?

CHILD. Oh, for goodness sake! You ask foolish questions. Read what mammas

like, of course.

MOTHER. Not Cinderella?—nor the Fairy Prince—or—

CHILD (_wistfully_). If I was Mary I would say, “Yes.” But I’m mamma.

(_Then suddenly runs to her mother and leans against her._) Oh, I don’t

want to be Mother any more. It’s hard and tiresome. I want you to cuddle

me—my head aches—and I haven’t played all—day—lo—o—ng. And Bridget

has been horrid—and I never want to taste cream puffs again—nor fruit

cake—nor lots of sugar in my tea. Bridget said I ate enough of ’em to

sink a ship. And I feel awful here. (_Hand on stomach._) Oh, mamma,

mamma! (_MOTHER holds her close and kisses her._) And, mamma, it’s

almost Christmas, and I promised to take this for a present. And it’s

all—just—wasted! Oh, dear me!

MOTHER. Little Mary, listen to me. Some day you will be as happy to be a

really mother, I hope, as I am; but just now you are a little girl, and I

don’t want you to be anything else.

CHILD. I don’t want to any more.

MOTHER. And _I_ think the nicest present you can have will be to forget

all about yourself, and have a lovely, happy time with some other

children. Shall we ask Santa Claus for that?

CHILD. Yes, oh yes! But, mamma, I know there isn’t any really Santa

Claus, but I like to think there is.

MOTHER. So do I, dear. There really is a Santa Claus spirit, though,

which every one can have.

CHILD. Sing to me, mamma. Christmas wouldn’t be Christmas without it.

MOTHER (_taking CHILD in her lap_). You are rather a big little girl to

be rocked, but I’ll try it. (_Sings Christmas carol._)

CURTAIN.

In the foregoing it is well to have the one personating “Mother” a large

woman in order to make as much contrast as possible between her and

“Mary.” As Mary has a good many lines to learn, her part must be taken by

one not too young; but with proper dressing the effect of a little girl

can be attained. If Mary is too large to be held in the lap in the last

scene, let her sit on a footstool and lay her head on Mother’s lap.

THE FIRST CHRISTMAS.

_For One Adult or Large Girl and One Child as Small as Can Learn the

Part._

_This may be presented wholly without accessories, except a chair and a

small table and work basket, or made to picture a Puritan home._

_The effect of this simple thing lies in the spirit put into it by the

actors. Well done it is exceedingly effective._

_Costumes and directions at the close._

CHILD (_enters, goes to MOTHER, who sits sewing—leans against her knee_)—

Mother, I heard the children say

That Christmas will be here tomorrow.

I never heard of that before,

Is it a time of joy or sorrow?

Did you keep Christmas years far back

In your old home across the water?

MOTHER—

Yes, child, with gifts and great yule logs.

But that was long ago, my daughter.

CHILD—

Tell me about it, mother dear,

Why did you have such Christmas gladness?

And did you give to all you loved?

Did you help all who lived in sadness?

MOTHER—

Dear child, this is the time of year

The dear Lord’s birth is celebrated.

But heathen rites and wicked mirth

Have marked for theirs all things created.

And so ’tis wrong for us to join

In ceremonies so unfitting.

(_Puts down her work, takes CHILD’S hand._)

But come. The storm is fierce without,

And glistening snow is downward flitting.

(_Rises._)

To bed, oh little daughter mine.

The pines and winds their songs are singing,

And all the stars—and Lady Moon—

Their watchful care to you are bringing.

(_MOTHER starts to go out, CHILD steps in front of her and

looks up into her face._)

CHILD—

But, Mother dear, on my birthday

You give me gifts, and I am merry.

Why is it wrong on Christ’s birthday

For us to help make others cheery?

MOTHER—

To bed, my little daughter mine,

Nor vex your childish heart with fretting.

(_Starts to go, CHILD again stops her._)

CHILD—

But, Mother, _you_ had Christmas time,

You told me so; you’re not forgetting?

MOTHER—

Nay, child, I don’t forget.

CHILD—

Then why

Can it be wrong if _you_ could do it?

You are so good. It made _you_ glad.

MOTHER—

But I have learned to sadly rue it.

CHILD—

But tell me why. I cannot see

Why joy displeases the good Father.

For when we’re glad we want to share,

And make all others glad together.

MOTHER (_moves toward the door_)—

’Tis time my little maid should go

And on her pillow white be sleeping;

While God shall guard through all the night.

And winter stars their watch be keeping.

(_They go out._)

MOTHER (_returns alone, clasps hands as she says_:)

My little maid! _Can_ it be wrong

To give her Christmas joy, I wonder?

(_Thinks, gets work basket, sits down, fashions a rough doll,

previously prepared, from bits of cloth. She puts on a dress

of gray, like her own—it can be tied and pinned together by

previous practice—with apron and kerchief. This is done as

she talks, with occasional pauses, finishing it silently and

holding it up to view._)

Was it all wrong—that happy mirth—

In the old home in England yonder?

Her childish questions reach my heart.

God loves to have us glad, most surely;

And loving Him, our love for all

Must stronger be, and grow more purely.

(_Goes out holding up the doll for her own admiration. After

short interval returns without the doll, goes to window and

looks out, speaking slowly._)

And now ’tis dawn; the night is gone,—

And it is holy Christmas morning.

Snow-drifts and ice and glittering stars

Are miracles for its adorning.

(_A pause. CHILD runs in joyously, hugging the doll. As she

talks she clasps her MOTHER and shows all possible joy, dancing

up and down, etc._)

CHILD—

Oh mother dear! Oh mother dear!

See what I found beside me sleeping!

If God kept watch He knew it came,

And knows how Christmas we are keeping.

If you love _me_ so much, and love

To give me gifts like this, dear mother,

How very loving God must be!

He must love more than any other!

MOTHER (_takes CHILD’S hand and puts her arm around her_)—

Dear little maiden mine! Your faith

That best of lessons holy,

That loving God is loving _all_;

And Love is Help to high and lowly.

CURTAIN.

COSTUMES.

Both dress alike. Dress gray, plain waist and close sleeves, skirt to

ankles. White apron, white kerchief crossed over the shoulders, plain

muslin caps, not tied under the chin, white stockings, low shoes.

The mother is very gentle and loving, the child eager and impetuous. This

can be made very “taking” by having both the characters children; the

smaller the better.

THE KING OF THE YEAR.

_For Seventeen or More Characters._

_This can be carried out with children entirely or with part adults._

CHARACTERS.

NEW YEAR.

SAINT VALENTINE.

SAINT PATRICK.

EASTER.

MAY and JUNE.

_Boys._

APRIL FOOL.

FOURTH OF JULY.

VACATION TWIN.

_Girls._

HALLOWE’EN.

THANKSGIVING.

VACATION TWIN.

SANTA CLAUS, _the King_.

_No stage setting required except throne for the KING._

GREETING SONG.

_Tune: “A-Roving.”_

CHILDREN (_enter, curtsey to audience. Sing._)—

We’ve gathered here, kind friends so dear,

To choose ourselves a King;

And when we find the nicest kind

We’ll clap our hands and gayly sing,

A welcome to our king

We will gayly sing.

CHORUS.

Oh, glad will the day be when

We have a king who joy will bring!

We’ll give a joyous welcome

To our king.

(_NEW YEAR enters, bows to children. They curtsey to him. He sings._)

_Tune: “Kingdom Comin’.”_

My little friends, I bring you greetings

For a happy New Year’s Day.

I’m the holiday of hope and rejoicing,

And I drive dull care away.

You all enjoy the rosy pictures

Of the future that I bring,

And you like to make my good resolutions,

So you’d better crown me king!

CHILDREN (_singing chorus_).

The New Year comes, ho, ho! We hate to see it go;

For we like to make good resolutions

Which we never keep, you know!

(_NEW YEAR steps to one side. VALENTINE enters, salutes the children

first, then the audience._)

_Tune: “She’s Gone; Let Her Go.”_

VALENTINE—

I’m the patron saint of the children,

But I care for all true hearts as well.

Be they sixteen or sixty I love them all,

And they long for my magic spell.

Dear Cupid’s my merry attendant.

He obeys me where’er he may be.

You may roam this wide world over,

But you’ll never find a friend like me.

CHILDREN—

Valentine is a good saint, we love him;

Cupid dear is a very good friend,

With his kisses and darts, and his loving hearts,

There are thrills for us without end.

(_VALENTINE retires. SAINT PATRICK enters, salutes, and sings._)

_Tune: “Mush, Mush.”_

SAINT PATRICK—

Oh, me darlin’s, I’ve come to remind ye

That ’tis I’m the best fri’nd can be found.

Where’s the toime for sich rollickin’ fun now

As ye’ll get when my day comes ’round?

ALL (_join_)—

For ’tis mush, mush, mush tu—ral—i—ad—dy,

Sing mush, mush, mush tu—ral—i—ay,

(_PAT. dances, all keep time._)

There’s ne’er a gossoon in the village

But welcomes Saint Patrick’s fine day.

SAINT PATRICK—

So children dear, don’t ye forget me,

I’ve hearts of all kinds for yer choice,

Take yer pick,—but don’t fail to remember

An’ shout fer me wid yer swate voice.

ALL—

For ’tis mush, etc.

(_PAT. dances, etc._)

(_SAINT PATRICK retires, EASTER enters, salutes, etc._)

_Tune: “Upidee.”_

EASTER—

I come to bring you Easter morn,

Easter morn, Easter morn,

It tells the winter’s cold has gone

Happy Easter morn,

The day when come the flowers of spring,

The day when all the sweet birds sing.

ALL—

Happy Easter day is here,

Happy day, happy day!

For winter’s death has gone away,

Blessed Easter day.

(_APRIL FOOL dances in, sings joyously, attitudinizing._)

APRIL FOOL—

I come to banish solemn thought,

April fool! April fool!

You’re free for jokes—but don’t get caught,

Jolly April fool!

(_Points to EASTER._)

She’s all right, sure, but follow me,

And fun and frolic you shall see.

(_Music, but no singing. APRIL prances and dances, CHILDREN wave hands in

time, others move heads in time. At close APRIL bows himself back into a

place with the other holidays. MAY and JUNE enter._)

_Tune: “Noah’s Ark.”_

MAY and JUNE—

Oh children dear, see here, see here,

We’ve come with beautiful flowers.

The winter gray has gone away,

And we’re not afraid of the showers.

MAY—

May time posies

Are all for you to be picking;

JUNE—

June time roses

Are yours, you may gather them all.

MAY—

The grass is green, come choose your queen,

Here’s crown and scepter of flowers;

JUNE—

On bush and vine my blossoms twine,

And sweeten the sunny hours.

CHORUS.

May time posies, etc.

CHILDREN—

The flowers have come, the blessed flowers,

With joy our voices are ringing.

For May-time posies, June-time roses,

Give we thanks as we sing.

May-time posies

Are all for us to be picking!

And June-time roses

Are ours, we may gather them all!

(_MAY and JUNE retire, July enters, keeping time with a slight tap of

his drum until he reaches his place, and very lightly through the first

verse, then louder at the chorus._)

_Tune: “Rumsty Ho!”_

JULY—

The firecrackers pop, and the guns go bang!

Hip hurrah! Hip hurrah!

The cannons go “boom!” and the gay bells cling-clang!

And the boys shout the message “Fourth of July!”

Hip—a—yi! Fourth July!

This day is jolliest of them all.

Hip hurrah! Hip hurrah!

The crackers are popping, and drums do call,

And the flags are a-flying on house and hall,

Hip—a—yi! Fourth July!

(_CHILDREN join. JULY marches, taps drum, all keep time, softly patting

hands, strike hands at second syllable of “Hurrah, hurrah!” and again at

last syllable of hip—a—yi and July._)

The drummer boys drum, the band calls sweet,

ALL—

Hip hurrah! Hip hurrah!

JULY—

The soldiers are marching along the street,

And you have to keep time with your hands and feet.

ALL—

Hip—a—yi! Fourth July!

(_JULY retires, VACATION TWINS enter._)

_Tune: “McSorley’s Twins.”_

VACATION TWINS—

Oh, we are Vacation, and we are the twins,

Who are worth all the rest of the year.

No school times for us, but we play all day long,

And nothing but fun you can hear.

And ’tis camping and riding and fishing we go,

With tramping o’er mountains and lea,

Will you tell us if ever a king there could be

Who would rule you so kindly as we?

CHORUS.

CHILDREN—

Yes, we know you, Vacation, we know you so well

You will be a delight, that is clear,

Such elegant times you give us, yes we know

You’re the best of them all in the year.

(_Repeat the chorus._)

(_HALLOWE’EN hurries in._)

_Tune: “Mary Had a Little Lamb.”_

HALLOWE’EN—

Wait a little, children dear,

Wait and hear! Wait and hear!

You’ve forgotten something near,

Listen, you shall hear.

(_Slower and with much emphasis on each word._)

In autumn time there comes a night

Full of fright—a ghostly night,

When you see full many a sight,

Many a sound shall hear

(_She continues, using the college chorus._)

Here the witches call! A—a—a—ah!

(_Sung slowly with a wail._)

(_Stage whisper._)

Oh aren’t you glad to hear such a call as that?

Hearts going pit—a—pat, hair rising ’neath your hat,

Oh, aren’t you glad at the call of the witches’ cat

At old Hallowe’en?

(_Quicker._)

Wait a little, children dear,

Wait and hear! Wait and hear!

You’ve forgotten something near,

Something you shall hear.

(_Slower, with earnestness, marks signs in the air._)

Magic tokens then appear,

Spells are wrought, sounds you hear,

(_Slower._)

Fortunes told for all the year,

(_Very slow and soft._)

Told you soft and clear.

ALL (_very loud_)—

Hear the witches call! A—a—a—ah!

(_Repeat, with hands over ears, then a third time very softly._)

CHORUS.

ALL—

(_Remove hands from ears, reach out both hands to HALLOWE’EN._)

Yes, we are glad (_hands clasped over head, eyes staring_) to hear

such a call as that,

(_Softer._)

Hearts going pit—a—pat, at such a call as that,

Yes, we are glad (_pause, count five_) to hear such a call as that

(_Silence, all listen with hand at ear, count ten slowly, then loudly._)

At old Hallowe’en.

(_THANKSGIVING sings behind scenes, all start, listen, and as she enters,

as indicated, all smile and CHILDREN take hold of hands._)

_Tune: “Auld Lang Syne.”_

Should auld acquaintance be forgot

And never brought to mind?

Should auld acquaintance be forgot,

And days of auld lang syne?

(_Enters slowly._)

For auld lang syne, my dear,

For auld lang syne,

We’ll tak’ a cup o’ kindness yet,

For auld lang syne.

For all the blessings sent to us,

For all the love that’s given,

For country dear, for home, for friends,

We thank thee, God in heaven.

Thanksgiving gives us sweetest cheer,

It turns our thoughts above.

For all the blessings of the year,

We thank thee, God above.

(_Second verse repeated by all. Raise faces and fold hands during the

last lines. THANKSGIVING retires._)

(_SANTA CLAUS, behind scenes._)

_Tune: “Oh, Dem Golden Slippers.”_

SANTA CLAUS—

I am coming near, I am almost here,

(_All listen._)

I am bringing you merriment and joyous cheer,

(_Enters. As he sings CHILDREN show various degrees of delight._)

Happy hearts and faces that smile, and smile,

I am bringing to you children, as I come.

(_Winks, nods, shows full stockings and bundles in his pack._)

And the varied fruits of the Christmas tree,

And the overflowing stockings you soon shall see;

And the bundles queer, and surprises dear,

I am bringing to you, children, as I come.

CHILDREN—

(_Clap hands at “merry” wherever it comes in the chorus, surround SANTA

CLAUS, taking his hands, etc._)

Oh, ’tis merry Christmas! Oh, ’tis merry Christmas!

Merry Christmas that we love best of all the whole round year!

Oh, ’tis merry Christmas! Oh, ’tis merry Christmas!

Merry Christmas who’ll be our king!

He’s best of all the year!

(_Repeat chorus, they all surround SANTA CLAUS, taking him with them

as they march around the stage, half the children on either side. If

necessary, sing the chorus a second time to prolong the march. They end

by leading SANTA CLAUS to the throne and placing him upon it, and as the

children sing the next verse they crown him. The holidays stand half on

either side._)

CHILDREN—

There’s no other one under all the sun

Brings us such gay hearts and such cheery fun.

So we crown him king, and we love to sing

How we love him, as we crown him our king.

(_HOLIDAYS join._)

CHORUS.

Oh, ’tis merry Christmas, etc.

ALL (_sing_)—

Oh, our hearts grow tender when he comes ’round,

And we try to make happiness for all abound;

For his love for us makes us love you all,

So we love him, and we crown him for our king.

CHORUS.

Oh, ’tis merry Christmas, etc.

CURTAIN.

DIRECTIONS.

As they sing each holiday comes forward in turn and offers Santa Claus an

emblem, which he hands to the children, and which they fasten—with pins

or otherwise—to the high back of the throne, or to the curtain behind

him, except the basket of flowers which May brings, and the roses from

June. The basket is placed at his feet, and the wreath on the arm of the

chair which forms his throne. The horn of plenty is also placed at his

feet.

Each makes a low bow as he presents his offering.

New Year offers a large card.

St. Valentine a huge valentine.

St. Patrick a big green shamrock, cut from green cardboard.

Easter a stalk of lilies.

April his cap and bells which he takes off for the purpose.

May-day her basket.

June her wreath of roses.

July a flag.

Vacation Twins a tennis racket and a butterfly net.

Hallowe’en a witch riding on a broom, cut from black cardboard.

Thanksgiving a horn of plenty, full of grain and fruit.

Each bows, gives offering and retires to place.

DIRECTIONS.

No stage setting is absolutely needful for this little play except the

throne for the king, but if there can be a small platform on either

side of the throne large enough to accommodate the children, or those

personating them, having the holidays on the level, it will give a better

effect. The throne can be merely a large upholstered chair, or it may be

draped and surrounded with curtains and a canopy overhead.

COSTUMES.

NEW YEAR should be quite a small boy (if children take the parts) in full

dress suit. This is not difficult to make and may be of cambric. If an

adult takes the part, the costume may be the same, or the traditional

figure of Father Time may be followed.

SAINT VALENTINE—Shakesperian costume, tights, trunks, cloak, etc. Carries

a mandolin.

SAINT PATRICK—Knee breeches and long frock coat of gray, battered “plug”

hat, green vest and stockings, low shoes with buckles.

EASTER—Long white dress with gold cord and tassel around the waist, gold

band around the head, hair hanging loosely. Carries a stalk of lilies.

[Illustration: _Fig. 1._]

APRIL FOOL—Jester’s suit (can be of cambric), black tights and trunks,

jacket reaching half way to knees and belted in, bottom of jacket, and

the wide collar cut in long points and trimmed with orange, with tiny

bells on points. Hood close fitting to head (see Fig. 1), with three

curved horns turning forward. These horns are stuffed with hair. The

collar is fastened to the hood, not to the jacket.

MAY and JUNE—Two little girls. White or light dresses trimmed with

flowers, wreaths on head. May’s flowers are delicate spring flowers,

those of June are roses, and she carries a wreath of them.

FOURTH OF JULY—Boy with drum hung before him, firecrackers around his

neck, carries a flag over his shoulder, drumstick in right hand.

VACATION TWINS—Sailor or khaki suits; one carries a butterfly net, the

other a tennis racket.

HALLOWE’EN—Long black gown, white cloth over the head, hanging evenly all

around the shoulders, places cut for eyes. Carries witch riding on broom

cut from black cardboard.

THANKSGIVING—Puritan costume; or it may be brown, flowing robe trimmed

with autumn leaves. Carries a horn of plenty, full of grain (in the grass

form) and fruit. This with either costume.

SANTA CLAUS—The traditional dress.

MRS. RANDY’S CHRISTMAS.

_A Christmas Play in One Scene._

_Eight Characters; Three Adults, Two Little Boys and Three Little Girls._

MRS. RANDY _The Mother_

MRS. VAN DUSEN ⎫ _Visitors_

MRS. GRAHAM ⎭

MARY ⎫

SUSIE ⎪

ANNIE ⎬ _Mrs. R.’s Children_

TEDDY ⎪

JOHNNIE ⎭

_Stage setting: A bare room with one pine table and two chairs. MRS.

R. is seated by the table darning stockings. Her work basket is on the

table._

MRS. RANDY. Dear me! How late it’s a-gettin’. I just have _got_ to finish

this mendin’ before the children get home, ’cause they’ll distract me so

I don’t know what I’m doin’.

This is the first day I’ve had at home in goodness knows when, ’ceptin’

Sundays, of course, and there’s enough needs doin’ here to keep a dozen

busy.

Now let’s see. Tomorrow’s Christmas, and I ain’t got nothin’ to speak of

ready for the children. I thought I’d ’a been able to save just a little

by now; but that winder Teddy broke took all I’d laid by to pay for it;

and the spankin’ he got didn’t pay it back neither.

So here I be, stockin’s most mended, but just about nothin’ to put in

’em. There’s those red apples Mrs. Jones gave me yesterday, and there’s

that pair of white kid gloves I’ve been savin’ for most two years. I was

goin’ to wait till Mary got a little bigger ’fore I gave ’em to her, but

I guess she’ll have to be big enough now. She’ll be real proud to have a

pair of white kid gloves, like what real ladies wear. I know these are

genooine, for the lady what wore ’em gave ’em to me. Then I was plannin’

to buy a fine silk tie for Teddy, but now I can’t, so I’ll just see what

I can do with that old one that used to be his father’s.

But there isn’t anything for the little ones, and now I can’t buy ’em

anything. I must do something, but I surely don’t know what.

TEDDY (_rushing in excitedly_). Ma! Just look! There’s a fine motor car

stopped out in the street.

MARY (_following_). And Ma! See! A fine lady is gettin’ out.

MRS. R. Well, if she ain’t a-comin’ right in here. Run out, quick, all of

you. You ain’t one of you dressed fit to be seen by a lady like that. (_A

knock—she shoos them out._) And I ain’t fit neither. Oh, my! (_She turns

her apron wrong side out, hastily picks up some stockings from the floor.

Another knock. She opens door._) How d’ye do? Won’t you come in? It’s a

fine day, ain’t it?

MRS. VAN (_steps one step inside the door_). I believe you are the person

who takes care of the rooms occupied by the “Ladies’ Literary Club,” are

you not?

MRS. R. Yes, ma’am. There ain’t nothin’ wrong, is there?

MRS. V. (_ignoring her question as before_). I am Mrs. Van Dusen, of the

charitable committee of the club. I presume you have some children?

MRS. R. Pleased to meet you, Mrs. Van Dusen. I am Mrs. Randy. Yes, I have

five children.

MRS. V. Oh, yes. (_Aside._) What large families these people have. I

see my surmise was correct. I presume you have nothing ready for their

Christmas?

MRS. R. Yes, I have for two of ’em, though it ain’t what I’d like. See.

(_Showing the gloves._) Mary’ll be real pleased to have these. They’re

real ladies’ gloves, ain’t they?

MRS. V. Don’t say “ain’t.” It’s bad grammar and it gets on my nerves.

(_Looks at gloves through lorgnette._) Goodness! Those dirty things? You

ought at least to send them to the cleaners first, though even then they

are in dreadfully bad taste. But I must go, for I have other charitable

calls to make. Here is money to buy something for the children. (_Hands a

coin from her purse._)

MRS. R. Thank you; but I’d rather not. We’d a-done somehow if you hadn’t

called.

MRS. V. Now, Mrs. Randy, don’t be foolish. You know it is wrong to be

proud, and it is especially unbecoming to the poor. (_Puts money on the

table._) Now you can get presents for them and say they came from Mrs.

Van Dusen. Goodby. (_Exit._)

MRS. R. Well, I s’pose she means to be kind, but I must say I don’t think

she knows how very well. I didn’t want to take her money, but now I’ll

have to. I wish Providence didn’t provide in such queer ways, sometimes.

Well—as she says—it’s wrong to be proud, so I’ll get something with it.

(_Picks up the coin._) Fifty cents. Now ain’t that fine? Why, I can

buy some presents and most a Christmas dinner, too. But I must get the

children to bed early so I can fix things up. (_Calls at the door._)

Mary! Teddy! Oh, children! All of you come in now. (_Children enter._)

MARY. Who was that lady, Ma?

TEDDY. What did she come for, anyway?

JOHNNY. Gee! But wasn’t that a swell automobile, though!

ANNIE _and_ SUSIE. Ma, who was it?

MRS. R. Just you wait till tomorrow an’ see. It’s a secret now, and if

you ask another word I won’t tell at all. Were you playin’ with the Smith

youngsters?

MARY. Yes. An’ oh, Ma. They’re a-goin’ to hang up their stockin’s. Can’t

we hang up ours, too?

MRS. R. Now, I just wondered if you’d remember about tonight’s being

Christmas Eve, and you did, didn’t you?

MARY. Yes, of course.

TEDDY. You bet.

MRS. R. We ain’t got no chimney, and Santa Claus can’t come that way,

but you just hang ’em on the back of the chair and I’ll leave the door

open so he can get in that way, and I hope he’ll not forget and pass us

by. Now, Mary, here’s a stockin’ for you. The foot is too full of holes

for you to wear ’em, or me to darn ’em; so I just sewed it across the

heel, and it’ll have to do. Teddy, I must have lost your other stockin’;

anyway I can’t find ’em now, so you can just use this old sock that used

to be your father’s before he went to the Philippines. And here are your

stockin’s, Johnnie, and Susie and Annie. (_Helps pin them up._) Now you

all get to bed quick’s you can. Mary, you look after the little ones,

won’t you? You see, I’ve got so much to do to make things tidy for Santa

Claus, that I can’t bother ’bout ’em. Now just scoot! All of you. And

don’t you dare peek, or Santa Claus won’t leave you nothin’. (_All hurry

off. MRS. R. opens the table drawer and takes out gloves and tie and

places them on the chair, gets apples and puts in the stockings, also._)

Now that ain’t enough for ’em all, so I’ll go buy somethin’ with that

money. (_Musingly._) Let me see. Oh, yes; I know. (_Door opens and TEDDY

puts head in, saying, “Ma.” MRS. R. slams drawer shut and hurriedly

covers chair with apron, then answers, “What?”_).

TEDDY. Ma, where’s my nightgown?

MRS. R. Land sakes, Teddy. I forgot. I lent it to Mrs. McRoy to cut a

pattern for Joe, an’ I s’pose she forgot to bring it back.

TEDDY. But Ma, what’ll I do?

MRS. R. Wear Johnnie’s other one.

TEDDY. Can’t. It’s too little.

MRS. R. Well, then wear Mary’s other one, but for goodness sakes go to

bed or Santa Claus won’t never come. (_Children go out._) Now I’ll go

over to the store and get some things. I’ve a fine idea. (_Puts on shawl

and hat, takes basket._) I’ll be back in a minute, and they won’t know

I’ve been away. (_Exit. After a moment the door opens and MARY puts her

head in. Dodges back and then enters in nightdress. Closes door and

starts to go toward the table, when the door opens again and TEDDY starts

in. She motions him back, tries to push him out, then pulls him in and

both go to the table. The door again opens and the others come in in

their nightgowns. All go toward the table on tip-toe, stop and listen and

rush out. After a pause the children come cautiously in and get nearly to

the table when they hear their mother coming, and rush out again. MRS. R.

enters with a loaded basket on her arm, sets it on the table._)

MRS. R. There we are. Things for a good dinner, anyhow. I know what I’ll

do for the playthings. (_Takes off shawl and hat, sits down and works.

Directions for this at the end._) Susie always did want a doll baby, and

here’s one she can’t smash. (_She works with frequent pauses, holding

up her work from time to time._) I think that is real scrumptious. I’ve

seen ’em in stores lots of times that didn’t look a mite better. Won’t

she be tickled? And I’ve thought how to make a elephant just like the

one in the store that Joe’s been begging for. Here’s just the thing.

Queer how things grow sometimes. You can work hard and you can’t do no

better than nature. See that now! You never know what you can do till you

try. ’Tain’t quite what I wanted, but it’ll have to do. Leastwise it’s

all he’ll get, so he’d better like it. There’s Annie, now. She’s allus

beggin’ for something pretty, so I got her some beautiful tissue paper to

cut out fancy. (_Takes paper from basket._) It only cost three cents, and

she’ll be just happy. (_She begins to put things in stockings. Knock at

door. She opens door to a lady._) How do you do, Miss? Have you lost your

way? I can show you real easy.

MRS. GRAHAM. Thank you, but I think this is where I wanted to come.

Aren’t you Mrs. Randy, the mother of little Mary and Teddy, and Susie,

Annie and Johnny?

MRS. R. Yes, ma’am, they are my little folks. I hope they haven’t broken

anything, or made any trouble. Are you one of the school teachers or

anything like that? How did you know them?

MRS. G. Oh, no. I’m not a school teacher; only a friend of one of the

teachers; and as I have no little children of my own I wanted to find

some little folks to help have a good time this Christmas. Just think how

lonely it would be not to have any children to share your Christmas with.

So I am going to ask you to let me have the pleasure of giving something

to yours. Won’t you? Please let me, Mrs. Randy.

MRS. R. Well, I must say that it’s very kind and friendly of you to want

to do that; and when you ask it that way, of course I’ll let you if it

will give you pleasure, though I must say I would hate to take presents

from some. But you don’t know how thankful I am, for the children’s sake.

I just didn’t know what I was going to do for some of them.

MRS. G. Don’t say any more about it, please, but put these little things

with the others in their stockings tonight, and say they came from

Santa Claus. Wouldn’t you like to wear these yourself? (_Hands her the

red holly berries from her own dress._) They will be becoming to you.

Good-night, and a merry Christmas.

MRS. R. Thanks, ma’am. The same to you and many of ’em. (_Exit MRS. G._)

There now, just look at that. (_Surveying the parcels._) I ought to

be pretty kind if I am to deserve such a friend. How different she is

from that Mrs. Van Dusen. Why, I declare. She didn’t even tell me her

name. I guess she wasn’t thinkin’ much about herself. Well, this surely

does make me happy. I wonder what’s in this bundle. (_Opens it, admires

things, fills stockings._) And now, so much has happened that I should be

perfectly happy if I could only get word from my John in the Philippines.

It’s been so long since I heard from him that I can’t help bein’ worried

’bout him. Seems as if he surely wouldn’t let Christmas go by without

sendin’ me word—if he’s alive—but it’s been so long—(_knock at the door.

A voice asks, “Is this Flower Street?”_) No, this ain’t Flower Street.

You’ve got a long way off. You go down that way (_pointing_) nearly half

a mile and you’ll cross it. Good-night. (_Comes in and sits down again._)

Dear me. That gave me quite a turn. I must be gettin’ silly tonight, but

it does seem as if my John was a-comin’—or was near—or somethin’. (_Knock

at the door, which she opens to receive a telegram, which she reads, then

waves it over her head, calling to the children, who run in in their

nightgowns._) Oh, hurry! Merry Christmas! Oh, just think! Your father is

comin’ tomorrow!

CHILDREN (_dancing around the chair_). Santa Claus has been here already!

Hurrah! Hurrah! Merry Christmas!

CURTAIN.

DIRECTIONS.

When Mrs. Randy returns from her purchase of Christmas things, she lays

aside her hat and shawl, sits down and takes a clothes-pin or a potato

from the basket. If a potato is used, one of the odd-shaped ones with a

small, round knob at one end, which can be made to look like the head of

the doll, is best. Then out of the table drawer she takes some pieces of

bright cloth and dresses the potato, or clothes-pin, for a doll, tying on

a skirt with a string, folding a square of cloth for a shawl and pinning

it on the shoulders, and folding another piece for a bonnet, and tying it

on with a bit of string. No sewing is needed.

The elephant for Joe is made of potatoes or carrots. A large oblong one

is the body; a small long one is the trunk, fastened to the body by long

wire nails or brads. In the same way four small ones form the legs of the

beast; two large, black-headed pins are the eyes, and two flaps of brown

paper, pinned on, the ears. A square of red cloth is a blanket for the

back, and is pinned to place. The tail is a bit of string with ravelled

end.

These things made, as she talks, with fitting pauses, and held up to

view, cause much merriment among the children in the audience.

READY FOR SANTA CLAUS.

_Illustrated Song for Twenty-seven or More Children._

_This is an attractive form of entertainment for the younger grades of

school. Just the number indicated may be used, or more of each kind can

be added as desired._

_Directions at the close._

SONG.

CANDY BAGS—

_Tune: “Rig-a-jig.”_

(_CANDY BAGS march around the stage, then stand at front, on left side,

in double row facing the audience, and sway from right to left in time as

they continue the song. They should be singing as they enter._)

In stockings by the fireside hung,

Wherever wreaths and toys are strung,

At Christmas time our praise is sung,

Heigh-ho! Heigh-ho! Heigh-ho!

What joy we bring at Christmas tide,

What pleasure scatter far and wide,

We are the Christmas candy bags,

Heigh-ho! Heigh-ho! Heigh-ho!

CHORUS.

We are the Christmas candy bags,

The candy bags, the candy bags,

We are the Christmas candy bags,

Heigh-ho! Heigh-ho! Heigh-ho!

PACKAGES—

_Tune: “Solomon Levi.”_

(_They enter at rear, march across the stage, then turn and march back

toward the entrance, but a space forward. This is during the first two

lines. When the SKATES sing, all halt and front face during the next two

lines._)

ALL—

We are the various Packages that come at Christmas time,

So interesting, so delightful, aren’t we big and prime?

(_All halt, front face. SKATES step forward, bow, hold out their hands to

audience and sing._)

We are the Skates for Joe and Jim, for Nell and Polly Ann,

And won’t they shout when we come out?

Just beat us if you can.

ALL—

(_Resume the march as before, turning back to the other side when they

reach one side, thus weaving back and forth across the stage, and getting

a little nearer the front each time._)

Oh, isn’t it jolly, tra-la-la-la-la-la,

Green wreaths and holly, tra-la-la-la-la-la-la-la-la-la,

(_Halt, GLOVES step forward and sing._)

GLOVES—

And we are the Gloves for Mary, and for Bess and Sister Sue,

We’ll help them dress in tip-top style

And that is what we’ll do.

(_All mark time and continue._)

ALL—

Christmas is a-coming soon and everything’s fine and gay,

Hurrah, then, for the Christmas time, it is the merriest day!

PACKAGE—

(_Steps forward, sings, steps back. Others the same._)

I am a silk dress for Mother, I am rich and dainty, too,

ANOTHER PACKAGE—

And I’m a shawl for Grandma dear, both warm and bright in hue.

ANOTHER PACKAGE—

And I’m some furs for little May, oh won’t she happy be?

ANOTHER PACKAGE—

And I’m the book that Helen wants, she’ll gladly welcome me.

ALL (_resuming the march_)—

Oh, isn’t it jolly. Tra-la-la-la-la-la.

Green wreaths and holly, tra-la-la-la-la-la-la-la-la-la.

(_Halt, front face._)

JEWELRY—

And we are the necklaces and pins, the dainty, sparkling rings

Which all the girls are longing for, they love such pretty things.

ALL (_marking time_)—

Christmas is a-coming soon, and everything’s fine and gay,

Hurrah, then, for the Christmas time, it is the jolliest day.

ALL (_repeat and march_)—

Oh, isn’t it jolly. Tra-la-la-la-la-la.

Green wreaths and holly, tra-la-la-la-la-la-la-la-la-la.

For we are the various Packages that come at Christmas time,

So interesting, so delightful, aren’t we big and prime?

Christmas is a-coming soon, and everything’s fine and gay,

Hurrah, then, for the Christmas time, it is the jolliest day.

(_The PACKAGES stand behind the CANDY BAGS._)

TIN SOLDIERS—

_Tune: “Co-ca-che-lunk.”_

(_SOLDIERS are heard behind the scenes marking time. Music soft at first.

As it grows louder the marking time grows louder; then they enter, march

to the center of the stage and halt in two lines, facing the audience._)

We are coming, for ’tis Christmas, and it’s time that we were here,

For the little boys are waiting

And our duty is most clear.

(_Mark time stiffly and vigorously._)

We are tin soldiers, and we’re marching,

See how we move so straight and grand.

We are tin soldiers, and we’re coming,

Heigh-ho! Can’t you just hear the band?

(_March during the next few lines to front and right of the stage

opposite the CANDY BAGS, halt and front face. At the chorus mark time as

before._)

See our uniforms so gorgeous

And our gay tin guns that shine,

All the little boys will greet us

As we stand so straight in line.

We are tin soldiers, and we’re marching.

See how we move so straight and grand,

We are tin soldiers, and we’re coming,

Heigh-ho! Can’t you just hear the band?

DOLLS—

(_Enter, stand in the center in two rows, the rag doll and the baby’s

knit doll in front, the others behind in couples. When one or more sing

they step to the front, and after singing stand in line in front of the

TIN SOLDIERS, who move back to give them room._)

_Tune: “The Wearing of the Green.”_

ALL (_sing_)—

We are the dolls who come to little girls on the Christmas tree.

We’re sent by good old Santa, and we’re glad as we can be,

Our little mothers love us well, but we’re not quite sure

Of the fate we’ll meet from children sweet, or the ills we must endure.

RAG DOLL—

I’m the best loved of the dollies;

I’m the old Rag Doll, you see.

There’s no other doll who’s ever

Loved so much as I shall be.

ALL—

Oh, we all are the best-loved dollies;

Little girls will love us well,

And we’ll always be to the Christmas tree

Worth more than tongue can tell.

KNIT DOLL—

I’m going to live with the darling child,

She of the blue, blue eyes.

I love her, but I know she’s sure

To give me much surprise.

But let her pound me, poke my eyes out,

Chew me, pull my hair,

I’ll love her, for she’ll love poor me—

The darling baby fair.

CHEAP DOLL—

I’m the cheapest of the dolls; my home will be both poor and mean,

But my owner’s sure to love me true as if I were a queen.

ALL—

Oh, we all are the best-loved dollies;

Little girls will love us well,

And we’ll always be to the Christmas tree

Worth more than tongue can tell.

FRENCH DOLLS—

We are the most expensive dolls

That can be bought and sold;

Yet Santa sends us, just the same,

For little girls to hold.

ALL—

(_Pointing to the broken dolls who are moving slowly toward the front._)

Who is it coming? What a sight!

It moves us all to tears.

BROKEN DOLLS—

We are the poor dolls who’re played out;

We’ve furnished fun for years.

FRENCH DOLLS—

Oh, it surely is most shocking. Shall we all be treated so?

BROKEN DOLLS—

We are glad we came; we’re loved the same

As all the rest, you know.

ALL—

Oh, we all are the best-loved dollies;

Little girls will love us well,

But we’ll always be to the Christmas tree

Worth more than tongue can tell.

(_The pianist now plays a lively march, and all the toys parade around

the stage and off._)

DIRECTIONS.

The CANDY BAGS are four little girls, two dressed in red and two in

white. Their dresses are of tarletan or cheesecloth over slips of the

same color. They are just wide enough to go over the ordinary dresses

and long enough to reach from the neck to an inch or so below the bottom

of their skirts. Let all be the same length. The top of the bags (or

dresses) are gathered with a ruffle around the children’s necks. Their

arms are kept inside of the dresses.

The PACKAGES are ten boys or girls, or both. Their costumes are shaped

of cardboard, inside of which the children stand, their legs showing

below and their arms coming through at the sides. Holes are cut through

the cardboard for them to see and breathe through, and these holes must

be located so as to be the inner corners of the eyes, or in the nose of

the large faces which must be marked upon the wrappings of the packages.

Close fitting sleeves of the same color as the paper wrapping the

packages are upon the arms, and the stockings should also match the paper.

The package of skates is covered with brown paper over a cylinder of

cardboard, with a twist at the top and tied with a large cord.

The DRESS, also of brown paper, but larger, and in an oblong parcel.

GRANDMA’S shawl, a lighter brown paper, tied with ribbon.

JEWELRY and GLOVES, smaller, one flat, one round, covered with white

paper and tied with red ribbon.

The TIN SOLDIERS are six little boys. Trousers long, of shiny blue

cambric with yellow stripes at the sides; shiny red jackets, with buttons

and bands across the front and on sleeves of yellow. Toy guns. Their

cheeks and lips should be very red to imitate the toy soldiers, and they

should walk straight and very stiffly, and not turn their head.

The DOLLS are seven little girls.

Two are dressed to imitate French dolls.

One for a rag doll.

One for a cheap doll, imitating it as closely as possible.

One for a knit doll for the baby.

Two for broken dolls. Of these latter have one without an arm (held

hidden under the dress) and limping on a crutch, and the other dressed

so as to seem to have no head. This can be done by making the dress with

its neck above the head of the wearer, thus leaving the doll without a

head. Have but one arm, and the dress waist and real arms hidden under a

“Mother Hubbard” dress. The clothes must be faded and ragged.

SANTA CLAUS’ GARDEN.

_For Eight Characters._

SANTA CLAUS ⎫ _Adults or Large Boys_

DEENO, _the Gardener_ ⎭

JACKS IN THE BOX _Three Small Boys_

FRENCH DOLLS _Three Small Girls_

DIRECTIONS AT CLOSE.

SANTA. It is a fine day, a very fine day. I’ve been looking all over my

toy garden and things are growing very well indeed. The bicycles are all

in bloom and the velocipedes are full of buds. (_Inspects the trumpet

vines._) These trumpets are about ripe. (_Calls._) Deeno! Hey there,

Deeno!

DEENO (_enters, touches hat, says_). Here I am, sir. What is it, sir?

SANTA. I think these trumpets are ripe, Deeno. Have them picked at once.

If they get too ripe, you know, they’ve a bad sound to them and then

they’re not popular. (_Pulls one, blows it._) There! That has a fine

tone to it. Nobody could object to that now, could they, Deeno?

DEENO. No, sir, indeed. I’m sure not, sir.

SANTA. Ah, Deeno, you know a good thing when you hear it. You’re a sly

rogue. (_Shakes finger at Deeno._) But, Deeno, I don’t see those skate

vines. You surely didn’t forget to plant them.

DEENO. Oh, no, sir. Indeed, sir! I planted ’em twice, sir; but the seed

must have been bad, for not one of ’em grew, sir.

SANTA (_much excited_). _What!_ No skates for my boys this Christmas?

Whatever shall I do? Why, _Deeno!_ You should have told me before.

DEENO. Oh, sir; it’s all right, sir. I sent to the South Pole by a flying

machine man, and spoke for their whole crop of skates, sir, and they got

here this morning.

SANTA. Good for you, Deeno! You have taken a load off my mind. You’ve

never failed me yet. Let me see some of them.

DEENO. All right, sir. (_Exits. SANTA examines the drum tree._)

SANTA. Doing well. Doing well. They’ll ripen in time for Christmas. Some

are most ready now. (_Taps various drum—examines buds—calls._) Hey,

Deeno! (_DEENO enters._) Oh! Here you are. (_DEENO has wheelbarrow full

of boxes wrapped, and two or three open, showing skates. Hands them to

SANTA, who examines them. Then he turns to the drum tree._) Where are all

the sticks for these drums?

DEENO. Bless you, sir! They’re growing right along, rows and rows of ’em,

sir. And when the wind blows ’em, sir, they act as if they were trying to

drum. Yes, sir, they do.

SANTA (_smiling_). They’ll have a chance to drum before long. I’ve

selected boys for every pair of them. (_Turns to skates again._) So these

are the skates, hey? Pretty fair skates, but not quite up to your work.

Hey, Deeno? (_DEENO grins and touches hat._) But I think the boys who get

them won’t grumble. (_Takes up a pair of roller skates._) And these are

the rollers. Are they all like these?

DEENO. Yes, sir. All alike, sir.

SANTA. That’ll do. Take ’em in to Mrs. Santa Claus, and ask her to see to

it that they are properly labeled. She’ll find the list of the boys and

girls they’re going to in my desk.

DEENO. Yes, sir. All right, sir. (_Goes off._)

SANTA (_bending down to examine them_). These tea set plants are very

slow growing this year. I’ll have them planted earlier next year. Just

see how small these dishes are. Those on the east side of the garden

are much larger than these. (_Examines plants in pots, opens the buds,

one after another, and shows the dolls within._) Oh, here you are, Miss

Dolly! You are to go to a dear little girl, so you must hurry up and

grow. And you (_to another doll bud_) will go into Annie’s stocking. And

you (_to another_) will go to lame Mary. Oh, yes, I think dolls are one

of the most satisfactory crops. (_Turns to the FRENCH DOLLS, who are

covered by a frame of mosquito netting._) Now these big French dolls are

very hard to grow. I see Deeno has them covered. (_Calls._) Deeno! Oh,

Deeno!

DEENO (_hurries in_). Yes, sir; I’m coming, sir.

SANTA. Why are you sheltering these dolls again this year? Is it the wind?

DEENO. No, indeed, sir. The wind wouldn’t hurt ’em, sir. It’s the birds,

sir.

SANTA. Birds! I never heard of such a thing. Birds injure them when they

have grown to that size?

DEENO. Oh, yes, indeed, sir. Why, they spoiled two long-rows of ’em last

week, just after I transplanted ’em, sir.

SANTA. How spoil them?

DEENO. Pick their eyes out, sir. That’s how they spoil ’em. Oh, yes, sir.

SANTA. Let’s see them. (_They lift off the netting._) Well, these are

beauties, Deeno. They certainly are beauties. Any of ’em talk?

DEENO. This one, sir. (_They wind her up. She says “Papa” and “Mamma.”_)

SANTA. _I_ think these had better be picked.

DEENO. Perhaps so, sir. (_They appear to loosen the doll, lift her from

her leaves and set her out in the path. In the same way they set the

other two out._)

SANTA. We’ll take those in with us when we go. Better try those balls

over there. (_Pointing. DEENO goes to the ball tree and tries several of

the balls._)

DEENO. We’ll pick these about next week, sir. They’re green yet.

SANTA. How are these Jacks-in-the-box? Have any of them popped yet?

DEENO. Yes, sir. One or two of ’em, sir. They must be quite ready by now,

sir.

SANTA (_opens a box, JACK springs up_). Just see that! (_DEENO opens a

second box and SANTA a third. The JACKS pop up._) And here’s another! I

always did like a good Jack-in-the-box, and they nearly always make me

jump a little. (_To JACK._) Go in there again. (_Shuts cover, opens it

again._) Oh, there you are! (_Tries each one two or three times. Leaves

them standing._) Well, Deeno, set those dolls out of the way and bring

up your wheelbarrow. (_DEENO does so. They put one JACK into the barrow.

DEENO wheels him away. SANTA lifts and carries off one of the dolls, the

curtain falls._)

DIRECTIONS.

Let the stage be set like the diagram. No. 1 is a trumpet vine, made of

branches fastened to the rear wall or curtain, like a vine, with a few

tin trumpets, and many to simulate them of cardboard, sticking out on the

vines like blossoms.

No. 2 is a tree as large as is feasible, with large buds of green tissue

paper, some closed, others parted and showing small drums in the center.

[Illustration: _Directions_]

The leaves forming these buds should be a pointed oval in shape, and vary

in size as they represent buds or open flowers. The drums hang down from

the branches and the petals, when open, hang over and partly cover them.

See Fig. 1.

[Illustration: _Fig. 1._]

No. 3 is another tree hung with bright-colored balls of tissue paper,

representing candies.

Nos. 4 and 5 are clusters of branches arranged to look as if growing, and

about three feet high, hung with balls of various kinds and colors.

Nos. 6, 7 and 8 are three little girls who are dressed to represent

French dolls. They stand in a row facing the audience. At either end of

the row is a frame to support the cheesecloth or mosquito netting which

covers them all over, until SANTA is ready for them. Their part, of

course, is to stand stiffly, like dolls, not turning their heads, and

with their arms held out in front like the small china dolls. One is to

say “Papa” and “Mamma” when the signal is given her.

No. 12 is a row of flower pots or boxes, in which appear to be growing

the doll plants. These are branches which stand about eighteen inches

high, with buds made of tissue paper, like those on the drum trees. These

buds conceal as many dolls as can be hung on the plants, some large, some

smaller.

No. 13 is a similar row of plants similarly arranged, on which are

fastened the various dishes of tea sets.

Nos. 9, 10 and 11 are boxes about two feet high and eighteen inches

square (or of the size to accommodate small boys stooping). These

boxes have paper leaves around them. The boys should be dressed like

Jacks-in-the-box, with frizzly hair, grotesquely painted faces, etc.

Their part is to remain hidden in the boxes till SANTA opens them (they

should be provided with stools to sit on or they cannot keep still.);

then to spring up suddenly and remain standing until shut in again.

COSTUMES.

SANTA CLAUS wears the traditional costume, and DEENO may be short and

fat, or tall and very thin. He wears blue overalls and a broad-brimmed

hat, and a fringe of white whiskers around his face.

SANTA CLAUS IN MANY LANDS.

_For Twenty Characters—Six Girls, Nine Boys, Four Little Children and One

Adult._

AMERICA ⎫

HINDUSTAN ⎪

CHINA ⎪

SCOTLAND ⎪

IRELAND ⎬ _Boys_

RUSSIA ⎪

INDIAN ⎪

PHILIPPINE ⎪

ESQUIMAU ⎭

FRANCE ⎫

GERMANY ⎪

JAPAN ⎪

ENGLAND ⎬ _Girls_

SPAIN ⎪

ITALY ⎭

SANTA CLAUS, _An Adult_.

FOUR LITTLE CHILDREN.

_This is good to introduce a school Christmas tree. At the close of the

play let SANTA CLAUS distribute the gifts with the help of the various

characters._

_If desired, the number participating can be doubled by having a boy and

a girl for each country. Or, the number can be reduced by omitting some

of the characters and the lines referring to them. As the stanzas are not

of set length they can easily be reduced or combined. Costumes at end of

the play._

_AMERICA enters_—

Christmas is coming. How glad I am

That I live where there is an Uncle Sam.

I suppose it is Christmas everywhere,

But for some Christmases I wouldn’t care.

It can’t be jolly in Hindustan,

For there it is never what I would plan.

_HINDUSTAN enters_—

No country is quite so good as mine

Where Buddha and Brahmin rule and shine.

We follow their birthdays all the year,

And many a feast-day comes to cheer.

Is Santa Claus Brahmin? I do not know,

Is Christmas Buddha? Where does it go?

(_To AMERICA._)

Why do you seem to love him so?

And what is Christmas, I’d like to know?

_GERMANY enters_—

Our own is the dearest Fatherland

Of any that there can be.

Kriss Kringle brings toys to all who are good,

With cakes and sweetmeats and all nice food,

And the beautiful Christmas tree.

And always we in dear Germany

Are glad when the Christ-child comes.

He leaves fine gifts and brings much joy

To every good little girl and boy

In all the dear German homes.

_CHINA enters_—

Melican Santa Claus velly big Joss.

Me sabe (_pronounced “sabby”_) him, me likee.

He tellee me allee time bling toys when me good,

Me likee, me be good allee time. Sabe?

My countlee (_country_) we hab plenty big Joss

No same like Melican Santa.

Santa tellee me be good all time, to ev’ly body.

Me sabe him. Me likee.

_FRANCE enters_—

Maybe your wonderful Christmas time

Is not quite alike in every clime,

But here, in beautiful, sunny France

It brings us music and many a dance,

(_Whirls and dances through these two lines._)

With feasting and calling on each dear friend,

With pleasure and jollity without end.

(_Bows, curtseys back to place, throwing kisses._)

_IRELAND enters_—

Ould Scotland has her heather,

An’ England has her rose,

But Ireland has her shamrock green,

The darlin’est thing that grows.

An’ to you now, ould Santy,

We bring the shamrock dear.

It manes good luck to ivery wan,

An’ good luck all the year.

An’ whin ’tis Christmas comin’

Wid all its games an’ toys,

Oh, thin ’tis sure the shamrock land

Is best fur gurruls an’ boys.

_ESKIMO enters_—

It is cold and beautiful where I live,

No place can be quite so good;

But the things I hear about today

I have not quite understood.

But Santa, you say, loves children well,

And I hope he’ll visit me,

For my country lies along his way

When he comes from the Arctic sea.

Come bring my people, Santa dear,

The happy times they tell of here.

_RUSSIA enters_—

Midst the great white snows of our great white land

Live hundreds of boys and girls,

And Christmas time brings us many a joy

As the snow and the storm wind whirls.

No Christmas tree, but a gathering great

Of friends by the warm house fire,

With games and giving,—oh! Christmas time

Is the Russian child’s desire.

_ENGLAND enters_—

Christmas is coming in England dear.

’Tis the gladdest time of all the year;

With the big boar’s head, with the pudding ablaze,

’Tis the merriest one of all our days.

The Waits are singing—the Mummers shout,—

In the great cathedrals the bells ring out.

For rich and poor, for young and old,

The Christmas message is sung and told.

“Peace, peace on earth, good will to men,”

We love to sing it each year again.

_SCOTLAND enters_—

In bonnie Scotland, our own rugged land,

Where moors and mountains are so wild and grand,

We go most soberly to our dear kirk

And hear the sermons—rather serious work

For us it is sometimes—but still we love

To hear the story of the Lord above.

No Christmas tree we have, but quiet giving.

We trust to goodness in our daily living.

IRELAND—(_Speaking to ENGLAND and SCOTLAND as he joins them._)

We’re cousins—the three of us—what do we care

How different—or same—are our countries, they’re fair

To each of us. Isn’t it so? Then hurrah!

Hurrah for ould Christmas, whoever we are!

_SPAIN enters_—

In sunny Spain we celebrate with flowers;

The sweet guitar with music fills the hours.

We do not have a tree; in hall or street

Our gifts are given to the friends we meet.

Christmas is gay for us in sunny Spain,

We’re always glad when gift-time comes again.

_ITALY enters_—

The sun shines fair upon our Italy,

And gives its gold to everything we see.

And when the blessed Christ-child comes each year

We worship him, and beg that he will hear

And bless us as we kneel, and so we know

We shall be happy everywhere we go.

And when again our homes we reach, there, piled,

Are lovely things sent by the holy child.

_JAPAN enters_—

Our holy Buddha has a birthday, too,

A sacred day it is. The children strew

The lovely flowers all along the way,

And chant the legends of that holy day.

All have new robes, and every girl and boy

Wish for their elders greatest peace and joy,

And then receive sweet cakes and cups of tea.

No children anywhere more blest could be.

_PHILIPPINE enters_—

They come to our islands far beyond the seas

And tell us of such lands and tribes as these.

They teach us words like “peace,” “to men good will,”

And show us what it is to drive and kill.

I can’t quite understand the things they say,

It seems to me a very curious way;

But these are children just like me, and so

They have good times in their own lands, I know.

If Santa Claus can make me glad like these,

And bring such ways to us beyond the seas,

I’m ready now to follow—love him, too,—

And then perhaps I’ll know just what is true,

Know what it means to hear now and again

Such words as “love” and “peace, good will to men.”

_INDIAN enters_—

(_Walks slowly to his place, folds arms, looks about him, speaks slowly._)

You speak too many words. All spirits good

Will love all children dwelling in the wood

Or tepees of the land. They take

Great care of all deserving ones, and make

Them wise and great. Your toys we do not need.

Still, if there’s a children’s saint, indeed,

He might at Christmas time to us come round.

The tales these tell (_pointing around_) have quite a pleasant sound.

CHILDREN—

(_Rush in pulling SANTA CLAUS with them, two at each hand. Others may be

with them to any desired number._)

SANTA—

In every land the little children dwell,

And all of them are mine; I love them well.

Some call one day each year the Christmas day.

And celebrate with joy. And some lands say

That other days are best; yet every child

Who’s good and kind, with tender hearts and mild

To help another’s pain, or comfort tears,

That child keeps Christmas day all through the years.

All, all are mine. In every land or creed,

Who love to help another’s want or need.

(_CHILDREN dance around SANTA CLAUS singing._)

_Tune: “For He’s a Jolly Good Fellow.”_

Santa Claus has brought us Christmas,

Santa Claus has brought us Christmas,

Santa Claus has brought us Christmas,

Hurrah for Christmas day!

(_All the characters join hands and skip around SANTA CLAUS, singing

together._)

Hurrah for Christmas day!

Hurrah for Christmas day!

Santa Claus has brought us Christmas,

Santa Claus has brought us Christmas,

Santa Claus has brought us Christmas,

Hurrah for Christmas day!

CURTAIN.

DIRECTIONS.

As each character enters and speaks, let him use gestures or actions

according to his words. This must be left to the judgment of the one in

charge.

COSTUMES.

SANTA CLAUS—Traditional red suit and cap, long whiskers, etc.

FOUR LITTLE CHILDREN—Any pretty dress.

AMERICA—Modern dress.

HINDUSTAN—White robe with loose sleeves. This reaches to the feet. Wide

white belt, white turban.

IRELAND—Green stockings, low, buckled shoes, gray knee trousers, white

blouse waist, green tie, gray jacket.

ESKIMO—Trousers, jacket and pointed hood of fur. Cotton flannel with the

fuzzy side out answers very well.

INDIAN—Moccasins, brown overalls with a pleat laid on the outside of the

leg, thus fitting it as close as is convenient. Over this pleat is a

fringe of brown leather or tan cotton. Bright blanket over the shoulders.

Red band around the head, with feathers standing up in it. Long black

hair, painted face.

SCOTLAND—Highland dress; plaid kilt and stockings, low shoes, dark jacket

and red or plaid sash over the shoulder; fur pouch in front; Scotch cap.

CHINA—Wide, loose trousers and blouse of dark blue, round cap of blue or

black, with red button on top; “pigtail” and slanting eyes.

FRANCE—Fancy pink and blue frilled dress, arms and neck bare, slippers.

PHILIPPINE—Close fitting waist and tights of brown, hands and face brown,

woolly wig. Skirt of raffia or grass reaching to the knees. Beads around

the neck; carries a spear.

GERMANY—Blue skirt to ankles, white waist, black bodice, Dutch cap with

flaps turned back from the face, long flaxen braids.

JAPAN—Gay kimono and sash, hair dressed high with tiny fans stuck in it.

SPAIN—Yellow dress with black bands around it, black bodice, large gay

fan, hair dressed with high back comb and large red roses below each ear.

ITALY—Green skirt with bands of bright trimming, white waist and apron,

black bodice. Hair in braids with white headdress, which is a band of

muslin six or seven inches wide and sixteen to eighteen inches long, one

end pinned on top of the head, the other falling behind.

RUSSIA—High, fur-trimmed boots, dark skirt and jacket and cap, all

trimmed with fur.

ENGLAND—A fair child with delicate features. Modern dress.

THE SPIRIT OF CHRISTMAS.

_A Sketch._

_For Eight Characters—Four Males, Four Females._

CHARACTERS.

MR. RADCLIFFE _Bachelor of 35, or Thereabouts_

BOB _The Janitor’s Boy_

BILL _Who Brings Home His Suit_

JIMMY _MR. RADCLIFFE as a Boy_

MISS DAYTON _Lady in the Late Twenties_

GRETCHEN _German Maid_

ANNETTE _Washwoman’s Child_

KITTY _MISS DAYTON as a Girl_

SCENE: _Interior of MISS DAYTON’S room. Table with books and sewing upon

it, two chairs and a lounge, etc. MISS D. sits reading._

MISS DAYTON (_puts down book, yawns_). Heigh-ho! What a dreary day! Cold

as Greenland, and raining as well. If I had _my_ way in the making of the

world we never would have had such days as this. (_Knock at door._) Come

in.

_Enter GRETCHEN with letters._

GRETCHEN. Some letters, Miss Dayton.

MISS D. Very well, Gretchen. Put them on the table.

GRET. (_picking up scraps, dusting, etc., as she talks_). It vas a nice

day, Miss Dayton.

MISS D. _I_ think it is a horrid day, Gretchen.

GRET. Nein, Miss Dayton. It vas by Christmas day. (_Smiles broadly._)

MISS D. What is that to me, Gretchen, or to any sensible person, for that

matter?

GRET. (_astonished_). Und you don’d like Christmas, Miss Dayton?

MISS D. Christmas is nothing, Gretchen. Nothing at all. Just a day for

silly people to spend money on foolish things, and other people to be

bored with their foolishness. You don’t catch me joining in any of it.

GRET. (_aghast_). But it vas _Merry_ Christmas, Miss Dayton.

MISS D. (_snappishly_). “Merry Christmas!” And what have I to be merry

about, I’d like to know?

GRET. Don’d you haf a fader, Miss Dayton?

MISS D. Dead, long ago.

GRET. Und a mudder? Und some brudders? (_Puts apron to her eye._) Ach

himmel! It makes me cry. I don’d haf ’em so long alretty yet.

MISS D. Oh, for goodness sake, Gretchen! Stop! I haven’t a living soul

who cares whether I live or die. And I don’t want to have, if the price

of them must be this nonsense about Christmas. If ever there was a

heathen custom carried out without cause or reason, this one of Christmas

is the one. Don’t talk to me.

GRET. Und you don’d half der Christmas kuchen? Und der ribbons? Und der

dinner? Und der Christmas heim-lied? Ach, Miss Dayton! It vas all so dear.

MISS D. (_angrily_). No! I tell you. No! (_After a pause, wearily._) How

much you talk.

GRET. (_pitifully_). Some of mein Christmas kuchen comes to you, Miss

Dayton, and then you vill not so lonely be.

MISS D. I don’t want it, Gretchen. I don’t want it. Why do you bother me

so? (_Takes up book._) Can’t you see I’m reading? Go and have your old

Christmas cakes, if you want them; but let me alone. (_Reads._)

GRET. (_backing toward the door and speaking timidly_). Und you don’d

_gif_ nottings on Christmas? (_No answer. She goes slowly out, turns

at the door, and says._) Tomorrow vas Christmas. (_No answer. Goes out

slowly, putting one eye to the crack of the door and looking long at MISS

D. before she softly closes it. MISS D. continues reading. Knock at the

door._)

MISS D. Come in. (_ANNETTE enters, poorly dressed. Carries a large basket

of laundry._) Oh, it’s you, Annette.

ANNETTE. Please, Miss Dayton, here’s yer washin,’ an’ Maw says cud ye be

afther payin’ her, ’cos termorrer’s Christmas.

MISS D. Certainly. Here’s your money. (_Pays her._) But surely your

mother won’t be so foolish as to spend her money on Christmas nonsense.

ANNETTE (_smiling_). Aw yis, miss. We do be goin’ ter have Christmis to

our house—an’ stockin’s hangin’ by the chimbly—an’ candy in ’em, an’

sich. An’ mebby sumpin’ nice—m—m! (_Nods her head and smiles knowingly._)

MISS D. (_sternly_). Now, Annette, that is actually wrong. When a woman

has to work as hard as your mother does to support seven children, it’s

worse than folly. It’s wicked to buy Christmas presents. As to Santa

Claus, there isn’t any such person, as of course you know. I really think

I shall make it my business to see your mother myself, and see if I can’t

stop such wasteful, useless doings.

ANNETTE (_with a wail_). Aw Miss Dayton! Now, don’t yer be doin’ that!

Not have Christmis? Aw! Yer don’ know what fun it be! Not have Christmas!

Aw Miss Dayton! Let us be, can’t yer? (_Hides her face in her apron and

sobs._)

MISS D. Now, Annette, stop this at once. You are a very silly child,

indeed. I’m quite surprised at you. Here’s your money, and when you get

home you tell your mother she is not to spend it for Christmas nonsense.

Do you hear? (_Resumes her reading._)

ANNETTE (_goes dejectedly to the door, but opens it again after she has

gone out, and puts her head in, calls._) Christmis gif! (_No answer—a

pause._) Christmis gif, Miss Dayton.

MISS D. Run along, child. No. No Christmas gifts from me. I don’t approve

of them at all. (_Resumes the reading of her letter. ANNETTE goes._) Of

all things! Here’s a letter from the ladies of the church asking me to

help with their Christmas tree for poor children. I think I see myself!

It is no better than a bid for pauperism. All nonsense! No indeed! Not

I. (_Reads other letter._) And if here isn’t more of the same! Mr.

Fletcher wants me to help a poor woman with four children so she can have

Christmas. The idea! As if there was nothing to use one’s money for but

buying toys and candy and such nonsense. (_Lets letter drop in her lap.

Seems to be thinking. Silence._)

CURTAIN.

SCENE II: _Interior of MR. RADCLIFFE’S room. Table, chairs, couch,

clothes scattered over the room. MR. R. is sitting reading the paper, his

feet on a chair. He puts paper down, yawns, resumes paper._

MR. RADCLIFFE. Jupiter! What a wretched day! Cold and rainy outside and

stupid and tiresome inside. (_Knock._) Come in. Oh, it’s you, is it, Bob?

BOB (_briskly_). Yessir. It’s me, sir. Here’s yer mail, sir.

MR. R. Toss ’em over, then. (_Drops paper, takes letters._) Beastly day.

BOB (_picking up MR. R.’S paper from the floor, setting chairs straight,

etc._) Oh, no, sir. Fine day, sir. Most Christmas, sir.

MR. R. (_sharply_). What of it, then? What if it is most Christmas?

BOB (_surprised_). W’y, sir! Ev’rybody’s glad w’en Christmas comes.

MR. R. I’m not. Why should I be glad? Tell me that.

BOB. W’y—Mr. Radcliffe! W’y—jes’—’cos—it’s Christmas.

MR. R. (_sitting up suddenly_). And what’s Christmas? Just a chance for

some fools to spend other fools’ money. (_Pounds table._) All foolery, I

tell you! All foolery!

BOB (_protesting_). Oh, Mr. Radcliffe! No, sir! Leastways not as I ever

see. We’re glad at Christmas, sir—and give things, sir, an’ gets ’em—an’

we feels kind to everybody, sir—that’s Christmas, sir.

MR. R. (_pounds table so suddenly BOB jumps_). Don’t contradict me, sir!

Do you hear? Don’t contradict me. I said it is all foolery, and it is.

(_BOB promptly departs._) And this fellow proves it when he talks as he

does. “Get ’em!” Of course. That’s all they want—to “get” things. “Feel

kind?” Slush! (_Puts feet on table, takes paper. Knock at door._) Come

in. What is it?

(_Small boy, BILL, with very large bundle._)

BILL. Here’s yer suit, sir. From the cleaners.

MR. R. Set it down. (_Resumes reading. BILL puts down the suit and waits.

After a moment MR. R. looks over his paper._) Well, what are you waiting

for?

BILL. Please, my paw—he says he’d like the pay, ’cos termorrer’s

Christmas. An’ here’s the bill. (_Offers it._)

MR. R. (_sarcastically_). I’ll warrant he’d like the pay. And he can have

it. But what in thunder does Christmas have to do with it?

BILL (_backing hastily away and putting the bill behind him._)

Please—we’re to have a tree; a little, nice tree. An’ paw—he’d like the

pay ’cos (_eagerly_) I’m to have a dandy knife, an’ maw’ll have a new

dress, an’ a pot o’ posies—and little Sis’ll have a new dress, an’ have

candy, too; an’—an’ it’s Christmas; a Christmas tree, sir.

MR. R. Here. Take it and get out. (_BILL goes hastily._) They are all

fools together, and a fool and his money belong to the Christmas crowd.

(_Boy puts head in and says timidly._)

BILL. Christmas gif’, please. (_Dodges out as MR. R. throws the paper at

him._)

MR. R. Thunderation! Are we to be pestered by gifts, too? Not if I know

it. (_Lies back in his chair again._) It’s a beastly day. (_Sees letters,

opens one._) I forgot these. (_Glances over it._) Here’s another fool.

That Phil Warner wants me to come to Christmas dinner. I look like going

to a Christmas dinner now, don’t I? (_Sarcastically._) Oh, yes! I’m the

kind that’ll go and admire the babies, and let them climb all over me—and

see them spoiled with this fol-de-rol about Christmas! No, thanks, old

boy. I have an appointment elsewhere. (_Takes up other letter, reads,

slams it down._) Is everybody Christmas crazy? Here’s the minister of

the church yonder asks me to contribute to their Christmas tree for poor

children. Now, that’s a little too much! I may be easy, but I’m not ready

for the asylum. (_Puts feet on the table, lies back in his chair, puts

handkerchief over his face. Silence._)

CURTAIN.