Chapter II: 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.