{"1": {"fulltext": "", "height": "2786", "width": "1903", "jp2-path": "practicaldialogu00iris_0001.jp2"}, "2": {"fulltext": "", "height": "2724", "width": "1728", "jp2-path": "practicaldialogu00iris_0002.jp2"}, "3": {"fulltext": "", "height": "2696", "width": "1636", "jp2-path": "practicaldialogu00iris_0003.jp2"}, "4": {"fulltext": "", "height": "2724", "width": "1724", "jp2-path": "practicaldialogu00iris_0004.jp2"}, "5": {"fulltext": "Practical Dialogues,\\nDrills, and Exercises\\nrOQ ALL GPADE5\\nBY\\nMARIE IRISH\\nChicago\\na. flanagan, pubwsher", "height": "2712", "width": "1628", "jp2-path": "practicaldialogu00iris_0005.jp2"}, "6": {"fulltext": "5^*^\\ns^\\nf- O\\nTWO COPIES RECEIVED,\\nOffieo e? th\u00c2\u00ab\\n\u00e2\u0080\u00a2IUN2-19Q0\\n^K.\\nSECOND COPY,\\n63921\\nCopyright 1900\\nBy a. FLANAGAN", "height": "2724", "width": "1724", "jp2-path": "practicaldialogu00iris_0006.jp2"}, "7": {"fulltext": "CONTENTS.\\ns7^\\nAT Christmas Time\\nPage.\\n70\\nBe Thankfui.\\n64\\nBo-Peep and B0Y-B1.UE March\\n91\\nButterfly Drili,\\n100\\nBi,uE AND The Gray, The\\n25\\nLost Chii^d, The\\n151\\nI/UCK AT I/AST\\n118\\nMlWTARY DRII,!,\\n17\\nMother Nature s Party\\n41\\nMeeting oe the Ghosts, The\\n127\\nModern Midsummer Night s Dreaw\\nThe\\n168\\nOur I^ag\\nII\\nPatriotic Choppers\\n5\\nPicTxmE Gai,i,ery, a\\n55\\nPumpkin Pie\\n67\\nScene at the Ticket Office\\n141\\nSwght Mistake, A\\n134\\nSuNFi,owER March and Drii i,\\n84\\nSpring Romance, A\\n36\\nTea- Party, The\\nIII\\nWatcrtng for Santa\\n82", "height": "2712", "width": "1628", "jp2-path": "practicaldialogu00iris_0007.jp2"}, "8": {"fulltext": "", "height": "2704", "width": "1724", "jp2-path": "practicaldialogu00iris_0008.jp2"}, "9": {"fulltext": "PATRIOTIC CHOPPERS\\nWASHINGTON S BIRTHDAY EXERCISE; FOR\\nSIX BOYS AND SIX GIRLS\\nCostumes Girls dress in Martha Washington style; three\\nwear plain blue dresses, white kerchiefs, and red caps the\\nother three, red dresses, white kerchiefs, and blue caps.\\nEach girl carries a flag.\\nBoys. Continental costumes three-corner hats, slippers,\\nknee-trousers, cut-a-way coats, and white, ruffled waists.\\nThree boys wear blue hats, and three red ones (straw\\nhats can be covered with cambric, and pinned up in shape).\\nThe boys who wear red hats have blue coats, those who\\nwear blue ones have red coats. Each boy carries a wooden\\nhatchet, decorated with red, white, and blue ribbons.\\nThe children marcli in to the tune of\\nYankee Doodle, the boys entering at\\nright, and girls at left of stage meet at cen-\\nter of back, form couples, march down center\\nto front, cross lines, the girls passing to\\nright and boys to left of stage, march\\nup sides and meet again at center of back.\\nThe leaders stand facing each other, the\\nboy raises his hatchet at arm s length, the\\ngirl raises her flag, and have them meet\\nat the top. The next couple pass in under,\\n5", "height": "2688", "width": "1648", "jp2-path": "practicaldialogu00iris_0009.jp2"}, "10": {"fulltext": "6 PRACTICAL DIALOGUES\\nraise Hatcliet and flag, and stand beside the\\nfirst couple the third couple pass under,\\ndo as the former two, and so on, until all\\nare in line. The first couple then pass\\nunder to the front of stage, where the girl\\nleads to the right around edge of stage, the\\nboy to the left as soon as the first couple\\npass under the arms of the second couple,\\nthey (the second couple) drop arms, pass\\nunder, and follow first couple each couple\\ndoes the same until all have passed under\\nand marched around the stage. At back of\\nstage the files pass each other (the boys\\nkeeping to the outside), the girls come down\\nthe left of stage, and boys down the right.\\nAt right and left corners of front the files\\npass in oblique lines to the center of back\\nof stage, where they meet, form couples, and\\npass down stage to the front. First couple\\npasses to the right, halts, and faces audience,\\nthe girl stepping back of the boy and stand-\\ning behind him second couple passes to\\nleft, halts, and faces audience, the girl stand-\\ning back of the boy third couple to the\\nright, and so on, until two lines are formed\\nacross front of stage, the six girls standing", "height": "2716", "width": "1796", "jp2-path": "practicaldialogu00iris_0010.jp2"}, "11": {"fulltext": "PATRIOTIC CHOPPERS 7\\nback of tlie boys. Tbe boys bold batcbets\\nin rigbt bands, witb back of batcbet bead\\nresting in tbe bollow of rigbt sboulder.\\nGirls bold flags in rigbt band, vertically at\\nrigbt side. Tbey now sing to tbe tune of\\nYankee Doodle, tbe following\\n1. Once on a time tbere was a boy,\\nWbo was bis fatber s treasure\\nHe bad a batcbet new and sbarp,\\nTbat gave bim greatest pleasure.\\n[During tbe cborus tbe boys make mo-\\ntion of cbopping witb tbeir batcbets, keep-\\ning time to tbe music]\\nCbop I cbop cbop ob, bew it down.\\nLet your strokes be steady\\nHew it down witb all your migbt,\\nAnd stop wben you are ready.\\n2. Out in tbe yard a little tree\\nAll by itself was growing.\\nAnd naugbty Georgie cut it down\\nJust wby, tbere is no knowing.\\nCborus (as before).", "height": "2696", "width": "1612", "jp2-path": "practicaldialogu00iris_0011.jp2"}, "12": {"fulltext": "8 PRACTICAL DIALOGUES\\n3. Now Georgie was a truthful lad,\\nWho could not tell a lie, sir\\nWhen asked who chopped the cherry-\\ntree.\\nHe said, Boo-hoo (hang heads and\\nrub eyes with the left hand)\\nt was I, sir.\\nChorus (as before).\\n4. Now, boys, you e er must truthful be,\\nRemember what we say, sir\\nFor if you do, perhaps you 11 be\\nOur president some day, sir.\\n[Omit words to the chorus (music con-\\ntinues), and execute the following commands,\\ngiven by the leader of the girls. Bach com-\\nmand and its execution takes the time of\\none line of the music of chorus.l\\nPresent hatchets. Hold hatchets verti-\\ncally in front of center of body, the front\\nedge of blade presented to audience.\\nParry. Hatchet held horizontally above\\nhead.\\nCharge. Step forward with left foot,\\nlean slightly forward, extend hatchet at\\narm s length in front of body.", "height": "2720", "width": "1748", "jp2-path": "practicaldialogu00iris_0012.jp2"}, "13": {"fulltext": "PATRIOTIC CHOPPERS 9\\nCarry hatchets. Return hatchet to posi-\\ntion at right side.\\nMusic now changes to Columbia, Gem\\nof the Ocean, and all sing\\n1. When the burden of England s oppres-\\nsion\\nOur land could no longer endure,\\nOur forefathers said in confession,\\nThis wrong we must right, that is\\nsure\\nTheir mandate made heroes assemble,\\nFor Justice and Right they stand\\nTheir banners made tyranny tremble.\\nWhen borne by the brave of our land.\\n[During the chorus the boys move\\nhatchets as in first song.]\\nThey chopped with their might and their\\nmain.\\nThey chopped and they chopped not\\nin vain;\\nTheir sharp-edged hatchets of Freedom\\nSoon chopped England s power in\\ntwain.\\n2. Our glorious and gallant defender,\\nDetermined our land should be free.", "height": "2708", "width": "1552", "jp2-path": "practicaldialogu00iris_0013.jp2"}, "14": {"fulltext": "lO PRACTICAL DIALOGUES\\nAt last caused proud England s surrender,\\nAnd felled her tyrannical tree,\\nWitli the emblem of Justice before him,\\nAnd Liberty s form e er in view,\\nWith his flag (girls raise flags and wave\\nthem above the boys heads continuing\\nthrough the chorus)\\nproudly floating above him,\\nThe victory he bore his brave crew.\\nChorus (boys chopping with hatchets as\\nbefore).\\nMusic changes to America, and all\\nsing:\\nOur country, t is to thee.\\nSweet land of Liberty,\\nWe raise our song\\nNeath Freedom s banner bright,\\nWe ll stand for Truth and Right,\\nAnd e er with all our might\\nChop down the Wrong.\\nMusic changes to Yankee Doodle, lines\\nform couples, and march around stage and\\nthen exeunt.", "height": "2724", "width": "1760", "jp2-path": "practicaldialogu00iris_0014.jp2"}, "15": {"fulltext": "OUR FLAG\\nA PATRIOTIC EXERCISE FOR SIXTEEN\\nCHILDREN\\n[Each, child carries a palm-leaf fan, half of the fans\\nbeing covered with red cambric and having a 2-inch ruffle\\nof blue around the edge, the other half being covered with\\nblue and having a red ruffle. On each fan is a letter (five\\ninches high) cut from white cardboard. The letters when\\narranged in order spell Hurrah for the flag. The fans\\nare held so that the letters do not show until each child\\nspeaks. At front of stage have a flag staff. A fishing-pole\\nso fastened into a small dry-goods box that it stands erect\\nwill answer. Drape the box with red, white, and blue bunt-\\ning, or a shawl. Remove an 1 8-inch flag from its stick, and\\nsew it on to one end of a stout twine twice the length of the\\npole. Pass the twine through a loop at the top of the pole\\nand tie the two ends together. By pulling on the twine\\nthe flag can then be raised to the top of the pole. At the\\nbeginning of the exercise the flag is at the foot of the pole,\\nready to be raised.]\\nThe children enter at the left of stage\\nand form in three lines across the back of\\nplatform, those on the first line having\\nthe letters f-l-a-g those on the second\\nf-o-r t-h-e, and those on the back line\\nh-u-r-r-a-h. They stand thus", "height": "2704", "width": "1520", "jp2-path": "practicaldialogu00iris_0015.jp2"}, "16": {"fulltext": "12 PRACTICAL DIALOGUES\\nI. 2. 3. 4- 5- 6.\\n7. 8. 9. 10. II. 12.\\n13. 14. 15. 16.\\nWhen marching in, the fans are carried\\nin the left hand. As soon as all are in posi-\\ntion, No. 16 steps forward and raises the\\nflag to the top of the staff (fastening the\\ntwine so as to keep the flag in place). Just\\nas it reaches the top of the staff the other\\nchildren give the following salute\\n1. Extending the right arm and pointing\\ndirectly at the flag, then bending the fore-\\narm so as to touch the fingers lightly to the\\nforehead, they exclaim, We give our\\nheads\\n2. Placing the right hand over the heart\\nthey continue, and our hearts\\n3. Hand falls at right side as they say,\\nto our country\\n4. Standing motionless, they exclaim,\\nOne country One language\\n5. Extend the right arm at full length,\\nthe hand pointing at the flag, the body\\ninclining slightly forward, and say with\\ngreat force, One flag.\\n6. Right arm is dropped at side, fans are", "height": "2724", "width": "1764", "jp2-path": "practicaldialogu00iris_0016.jp2"}, "17": {"fulltext": "OUR FLAG 13\\ntransferred to right hands, and No. 16\\nreturns to place. Children now speak, each\\none in turn revealing the letter on his or\\nher fan. Those on the second line raise\\ntheir fans higher than those on the first line\\ndo, while those on back line raise theirs\\nhigher than those on the second line.\\nNo. I.\\nHonor your country, whatever you do,\\nAnd to Old Glory forever prove true.\\nNo. 2.\\nUnited are we, heart to heart, hand to hand;\\nFor liberty s banner we now take our stand.\\nNo. 3.\\nRed is for courage, for faithfulness the blue.\\nWhite is for honor a lesson in each hue\\nNo. 4.\\nRally round our flag, whose glories e er\\nincrease\\nOffer loyal service in war and also peace.\\nNo. 5.\\nAlways let us keep the stars and stripes\\nunfurled,\\nAnd strive to make our flag the greatest in\\nthe world.", "height": "2708", "width": "1520", "jp2-path": "practicaldialogu00iris_0017.jp2"}, "18": {"fulltext": "14 PRACTICAL DIALOGUES\\nNo. 6.\\nHere waves the flag for which our fathers\\ndied,\\nFlag of victory, a grateful nation s pride.\\nNo. 7.\\nFlag of our Union, oh, shine forever bright!\\nEmblem of justice, of liberty and might.\\nNo. 8.\\nOn land or sea, in sunshine or in gale.\\nWith our flag above us our hearts shall\\nnever fail.\\nNo. 9.\\nReaping the reward of victories of yore,\\nOur flag now flies in peace from east to\\nwestern shore.\\nNo. -10.\\nThere s only one flag in this land of the\\nbrave\\nOver all our nation shall Old Glory wave.\\nNo. II.\\nHere is the flag that never knows defeat\\nOnce in the right it suffers no retreat.\\nNo. 12.\\nEv ry land has its flag, whether great or\\nsmall,", "height": "2724", "width": "1768", "jp2-path": "practicaldialogu00iris_0018.jp2"}, "19": {"fulltext": "OUR FLAG 15\\nBut we are glad to say, Old Glory beats\\ntliem all.\\nNo. 13.\\nForward let us march, freedom s banner\\no er us\\nBreathes there no foe who shall not fall\\nbefore us.\\nNo. 14.\\nLong may it wave the red, the white, the\\nblue\\nTo my country s flag I shall be ever true.\\nNo. 15.\\nAll hail to our flag, may its stars ever shine,\\nO er the land that we honor, your country\\nand mine.\\nNo. 16.\\nGreet we the banner of our fathers brave,\\nWho died beneath its folds our liberty to\\nsave.\\nAs No. 16 finishes speaking, all repeat\\ntogether I pledge allegiance to my Flag\\nand the Republic for which it stands one\\nNation indivisible, with Liberty and Justice\\nfor all. At the words, to my Flag, the\\nright hand (still holding the fan) is extended", "height": "2712", "width": "1604", "jp2-path": "practicaldialogu00iris_0019.jp2"}, "20": {"fulltext": "1 6 PRACTICAL DIALOGUES\\ntoward the flag, and remains tlius till the\\nend of the affirmation whereupon all hands\\ndrop to the side.\\nThe children then march forward and\\nform in two semicircles just back of the\\nflag staff, Nos. i, 2, 3, 4, 5, 6, 7, 8, 9, on the\\nback; Nos. 10, 11, 12, 13, 14, 15, 16, on\\nthe front line. All join in singing the fol-\\nlowing\\nTune Columbia, Gem of the Ocean.\\nO er Columbia, the home of our nation,\\nOur banner of freedom shall wave.\\nBeloved with glad exultation.\\nUpheld by the loyal and brave.\\nThou emblem of freedom and justice,\\nWe here pledge allegiance to you\\nThy colors shall ever protect us.\\nBlest flag of the red, white, and blue.\\nHurrah for the red, white, and blue.\\nHurrah for the red, white, and blue,\\nOur banner of freedom and justice.\\nWe here pledge allegiance to you.", "height": "2724", "width": "1764", "jp2-path": "practicaldialogu00iris_0020.jp2"}, "21": {"fulltext": "MILITARY DRILL\\nFOR TWELVE BOYS\\nEach boy carries a gun, either one sawed from wood, or\\nan air gun. For a patriotic occasion these should be neatly\\nwound with red, white, and blue.\\nMusic: A Patriotic Marcli.\\nDuring the march the boys carry guns\\nin the right hand, grasping the stock just\\nunder the hammer, barrel nearly vertical\\nand resting against the shoulder, the arm\\nhanging at nearly its full length, near the\\nbody. They enter at back of stage in sin-\\ngle file, march down center to front of stage,\\nfirst boy turns to right, second to left, third\\nto right, and so on, pass up sides of stage,\\nand form couples. March in couples to\\nfront of stage, first couple turns to right,\\nsecond to left, third to right, and so on, pass\\nup sides of stage and form in fours at the\\nback. March down center of stage in fours,\\nand at the front the first four halt, the sec-\\nond four march to the right of the first four,\\n17", "height": "2700", "width": "1496", "jp2-path": "practicaldialogu00iris_0021.jp2"}, "22": {"fulltext": "1 8 PRACTICAL DIALOGUES\\nand the third four march to their left, where\\nthey form in straight line, twelve abreast.\\nDRILL.\\nSalute. Raise the left hand until the\\nforefinger touches the forehead above the\\nleft eye, thumb and fingers extended, palm\\nto the right. Drop arm at side.\\nOrder Arms. Butt of gun rests on\\nground, arms hanging naturally, right hand\\nholding the barrel between thumb and fin-\\ngers, first two fingers in front, the others in\\nrear, and opposite the seam of the trousers.\\nCarry Arms. Raise gun vertically with\\nthe right hand, grasp it at the same time\\nwith the left, above the right, resume the\\nposition described for carry. Drop left\\nhand.\\nPresent Arms. Move gun with the right\\nhand to position in front of center of body,\\nat the same time grasp it with the left hand\\nso as to bring the forearm in horizontal\\nposition against the body; then lower the\\nright hand a few inches. The barrel of\\ngun should be in front of the face.\\nCarry Arms. As before described.", "height": "2724", "width": "1760", "jp2-path": "practicaldialogu00iris_0022.jp2"}, "23": {"fulltext": "MILITARY DRILL I9\\nRight Shoulder. Raise gun vertically\\nwith right hand, grasp it with the left and\\nraise this hand till on a level with the chin\\ngrasp butt of gun with right hand and raise\\nit until the hammer rests on shoulder, and\\nbarrel, pointing a little to the left, touches\\nthe back of head. Drop left hand.\\nCarry Arms.\\nPort Arms. Grasp gun a little below\\nmiddle of barrel with the left hand, and hold\\nit diagonally across chest, barrel resting on\\nleft shoulder, and butt against right thigh.\\nCarry Arms,\\nOrder Arms. As before described.\\nParade Rest. Move right foot six inches\\nstraight to the rear, left knee slightly bent,\\ncarry barrel of gun in front of center of\\nbody, and grasp it near the top with both\\nhands.\\nSquad Attention. Drop left hand and\\nplace gun in position described in Order\\nArms.\\nLoad. Step obliquely to the right with\\nthe left foot, move right foot to the rear, and\\nslightly to the right, at the same time raise\\ngun with the right hand, grasp it at the bal-", "height": "2704", "width": "1488", "jp2-path": "practicaldialogu00iris_0023.jp2"}, "24": {"fulltext": "20 PRACTICAL DIALOGUES\\nance with the left, the muzzle at the height\\nof the chin half cock the piece, lower muz-\\nzle slightly, load and raise muzzle to height\\nof the chin.\\nReady. Cock the piece with the right\\nthumb.\\nAim. Raise gun with both hands and\\nsupport the butt against hollow of right\\nshoulder, the barrel horizontal right elbow\\non level with shoulder incline head slightly\\nforward and to the right, cheek resting\\nagainst gun, left eye closed, and the right\\nlooking through sight notch.\\nFire. Press finger against trigger.\\nLoad. Lower gun and load as before.\\nKneel. Half facing the right, kneel on\\nthe right knee, bending the left, right leg\\npointing directly to the right, weight of\\nbody on right heel.\\nReady. As before described.\\nAim.\\nFire.\u00e2\u0080\u0094\\nRise. Rise and take the position of\\nOrder Arms.\\nCarry Arms.", "height": "2724", "width": "1772", "jp2-path": "practicaldialogu00iris_0024.jp2"}, "25": {"fulltext": "MILITARY DRILL 21\\nRifle Salute.\u00e2\u0080\u0094 Carry the left hand to the\\nhollow of the right shoulder, forearm hori-\\nzontal, thumb and fingers extended, palm\\ndown, forefinger against gun. Drop hand\\nat side.\\nFrail Arms. Gun is held in the left\\nhand just above the balance, left arm slightly\\nbent, barrel up, muzzle slightly to the front.\\nLeft Shoulder. Gun rests on left shoulder,\\nbarrel up, muzzle elevated, and butt grasped\\nin the left hand.\\nSling Arms. Gun held in rear of the\\nright shoulder, nearly vertical, muzzle up,\\nright hand grasping the small of stock.\\nSecure Arms. Gun is held in right hand\\nat the balance, barrel sloping downward and\\nto the front; right hand resting against\\nfront of hip, and upper arm against the\\nstock.\\nCarry Arms.\\nLeft Face. Face left of stage.\\nForward March. March up the left of\\nstage, and form in line at the back, standing\\nas far apart as possible, each facing front\\nof stage as he halts, and marking time with\\nthe feet.", "height": "2712", "width": "1584", "jp2-path": "practicaldialogu00iris_0025.jp2"}, "26": {"fulltext": "22\\nPRACiriCAL DIALOGUES\\nForward March. Marcli to front of stage\\nand form in as short a line as possible,\\nthus\\nOQOQOOpOQppP\\n1\\nwill\\nIII///\\nji\\ni\\nif if//\\ni\\nbhh^pj:\\n666666\\nThose who have a shorter distance to\\nmarch must march more slowly than the\\nothers so that all reach places at exactly\\nthe same time.\\nHalt. Line stops at front of stage.\\nAbout Face. Face the back of stage.", "height": "2724", "width": "1772", "jp2-path": "practicaldialogu00iris_0026.jp2"}, "27": {"fulltext": "MILITARY DRII.L 23\\nForward MarcH. March to the back of\\nstage, thus\\nGO\\nOO\\nOO\\nOO\\n.(D.\u00c2\u00ae\\n\\\\S^^ yyy y//\\ny y///\\ny: ryyyy\\ny- y yyCsy:\\\\\\n^yyyO y:?:s\\nf-\\nkl\\ni\\nao o ojjjDjDX^paoo\\nThe three boys nearest the right are to\\nform line No. 3, standing as close together\\nas possible, the next three form line No. 4,\\nthe next three line No. i, and the last three\\nLine No. 2. Bach boy as he forms in line\\nremains facing the back of stage. All\\nshould reach places at the same time.\\nAbout Face. Face front of stage.\\nForward March. March to front of stage\\nas shown in the following", "height": "2696", "width": "1588", "jp2-path": "practicaldialogu00iris_0027.jp2"}, "28": {"fulltext": "24\\nPRACTICAL DIALOGUES\\noo\\noo\\noo\\noo\\n^N--..\\nX\\ny\\no\\niill\\nCOCO\\noooo\\nY\\n\u00e2\u0080\u00a21\\nOn reaching the front the two files near-\\nest the right of stage turn to the right,\\nmarch up right side and exeunt at right cor-\\nner of back the other two files turn to the\\nleft, pass up left side, and exeunt.", "height": "2724", "width": "1764", "jp2-path": "practicaldialogu00iris_0028.jp2"}, "29": {"fulltext": "THE BLUB AND THE GRAY\\nA MEMORIAL DAY EXERCISE FOR TWENTY-\\nTWO CHILDREN\\nCharacters and costumes Uncle Sam. Suit of red,\\nwhite, and blue striped trousers, long, swallow-tail coat,\\nhigh, stiff hat, large necktie, and hair powdered. Carry\\nlarge flag.\\nGoddess of Liberty. White gown, sash of red, white,\\nand blue (worn from the shoulder diagonally across the\\nchest), and crown covered with gilt paper. Carry wreath\\nof flowers.\\nSoldiers. Five boys wearing blue cambric coats, and\\nfive wearing gray ones. Bach boy carries a flag.\\nFlower girls. Ten girls in white, each wearing a\\nrosette of red, white, and blue (with long streamers) on the\\nleft shoulder, and carrying a bouquet of flowers.\\nAs a marcli is played, the boys enter in\\nsingle file at tlie R comer (front) of stage\\nin tlie following order: Uncle Sam, a boy in\\nblue jacket, two in gray, two in blue, two\\nin gray, two in blue, and one in gray; at\\ntbe same time tbe girls enter in single file\\nat tbe left corner (back) of stage, tbe God-\\ndess of Liberty leading the line. The files\\nthen march as is shown in the following dia-\\ngram:\\n25", "height": "2704", "width": "1612", "jp2-path": "practicaldialogu00iris_0029.jp2"}, "30": {"fulltext": "A i\\nX\\ny-y\\n^__w.\u00e2\u0080\u009ev-\u00e2\u0080\u0094\\nxy\\nN-\\nJ\\nx -J\\n\u00e2\u0096\u00a0R O T.\\nFrom the right and left sides the lines now march\\nfollows", "height": "2724", "width": "1784", "jp2-path": "practicaldialogu00iris_0030.jp2"}, "31": {"fulltext": "THK BLUE AND The gray 2\\nOn reaching the C of back of stage, the\\nlast time before coming down the center,\\nUncle Sam and the Goddess of Liberty stop\\nat center of back, the others march between\\nthem and form two lines down the center of\\nstage when the last couple is in position,\\nUncle Sam and Goddess of Liberty march\\ntogether between the two lines to the front\\nof stage, then Uncle Sam passes to the\\nright comer (front) where he remains stand-\\ning, and Goddess of Liberty passes to left\\ncomer (front) and stops.\\nThe files move together and form couples,\\nthe first couple passes to the right, second\\ncouple to the left, third to the right, and so\\non; march to comers of front, where the\\ngirls stop in line, on either side of stage;\\nthe boys pass up sides, meet at center of\\nback and form couples, march in couples\\nhalfway down stage, then those on the left\\nturn to the left, those on right turn to right,\\nand form a straight line across the stage\\nfrom right to left. Here they halt, and the\\npositions on the stage are thus:", "height": "2712", "width": "1608", "jp2-path": "practicaldialogu00iris_0031.jp2"}, "32": {"fulltext": "28 PRACTICAL DlAtOCU^S\\nUncle Sam now speaks:\\n1. To-day, throughout this land of freedom,\\nFrom the east unto the west,\\nMemories of deeds heroic\\nFill each patriotic breast.\\nHearts are glad, yet filled with sorrow,\\nJoy will come, yet fade away.\\nAs we pay our loving tribute\\nTo the boys in blue and gray.\\n2. Years have passed since their brave\\nstruggle;", "height": "2724", "width": "1772", "jp2-path": "practicaldialogu00iris_0032.jp2"}, "33": {"fulltext": "THE BLUE AND THE GRAY 29\\nLong their warfare lias been o er,\\nBut we still recall the glory\\nOf their victories of yore,\\nWe rejoice that o er our nation\\nHarmony and peace hold sway,\\nYet we sorrow for the heroes\\nLost from ranks of blue and gray.\\n3. Now o er all this land of freedom.\\nProudly doth our banner wave,\\nFlag of liberty and justice.\\nFlag our soldiers died to save,\\nLeading us to fame and glory.\\nMay its colors shine for aye.\\nLoved alike in north and southland,\\nHonored by the Blue and Gray.\\n4. Likewise we to-day would honor\\nThose who answered Cuba s cry.\\nAnd against the Spanish tyrant,\\nBravely marched to do or die,\\nSoldier of the northland eager,\\nSoldier of the southland gay.\\nFor humanity joined forces\\nSide by side the Blue and Gray.", "height": "2700", "width": "1616", "jp2-path": "practicaldialogu00iris_0033.jp2"}, "34": {"fulltext": "30 PRACTICAL DIALOGUES\\nDuring the recitation the boys in blue\\nand gray take tbe following positions witb\\ntheir flags:\\nI. Flag held in right hand, arm hang-\\ning at side, and top of flag even with\\nshoulder.\\n2. The first two boys raise flags and cross\\nthem thus X third and fourth\\nboys, and so ^^V/^m on, the same.\\n3. B a c h ^*^y waves his flag\\nabovehis head.\\n4. Hold flag across the chest diagonally,\\nthe top resting on the left shoulder.\\n5. Step forward with right foot, and\\nwave flag at arm s length in front the body.\\nThe music then continues, and the girls\\nat the right of stage march across the front\\nand up the side those at left of stage march\\nacross the front and up the right side; the\\nlines meet at C of back, form couples, and\\nmarch down C to just back of the line of\\nboys. No. I turns to the right (passing\\nin front of No. 2), marches along the line,\\nand stops by the boy with whom she\\nfirst marched. No. 2 marches to the left\\nand stops by the boy at opposite end of line", "height": "2724", "width": "1768", "jp2-path": "practicaldialogu00iris_0034.jp2"}, "35": {"fulltext": "THE BLUE AND THE GRAY 3 1\\nfrom No. i. No. 3 turns to tlie right, No.\\n4 to left, and so on, until each girl is stand-\\ning by her former partner. The lines then\\nface the right, march in couples to C of\\nright side, down to front, across front to\\nC, up C of stage, to back where the boys\\nturn to the left, and girls to the right. Pass\\nin single files to corners of back, and down\\nsides of stage, then advance to the center of\\nstage in two lines, ten abreast. When\\nwithin two feet of each other, the lines halt\\nand remain facing. Beginning with No. i,\\neach girl in turn, steps forward and pins her\\nbouquet on the coat of the boy facing her,\\nand as she does so, recites a stanza as\\nfollows\\nNo. I.\\nOur tributes of love we offer to-day,\\nFlowers alike for the Blue and the Gray.\\nNo. 2.\\nBright as the stars which so brilliantly\\nshine,\\nThe fame of our soldiers shall never decline.", "height": "2712", "width": "1600", "jp2-path": "practicaldialogu00iris_0035.jp2"}, "36": {"fulltext": "32 PRACTICAL DIALOGUES\\nNo. 3.\\nTalk of your kings and plumed knights if\\nyou will,\\nTlie man with the musket is my hero still.\\nNo. 4.\\nWe shrine in our hearts these brave heroes\\nof ours,\\nAnd bring them to-day our beautiful flowers.\\nNo. 5.\\nA hero T is he who enters the strife\\nAnd gives to his country his service his\\nlife.\\nNo. 6.\\nA reminiscent people honor thee to-day.\\nHeroes patriotic, Boys in Blue and Gray.\\nNo. 7.\\nThy glory and triumph shall never de-\\ncrease,\\nThough sheathe we thy sword with our gar-\\nlands of peace.\\nNo. 8.\\nThese flowers fair which gladly we have\\nbrought,", "height": "2724", "width": "1752", "jp2-path": "practicaldialogu00iris_0036.jp2"}, "37": {"fulltext": "THE BLUE AND THE GRAY 33\\nAre emblematic of a nation s love and\\ntliougHt.\\nNo. 9.\\nHeld in memory, forever shalt thou live,\\nHonored by the homage thy country loves\\nto givQ.\\nNo. 10.\\nMore fully do we realize, each Decoration\\nday.\\nThat the debt we owe our soldiers is one we\\nne er can repay.\\nGoddess of Liberty speaks\\n1. In memory of soldiers now at peace,\\nWho answered to the angels reveille.\\nAnd from the din of battle found release.\\nWe twine our wreaths and garlands\\nfair to-day.\\n2. The bugle blast shall ne er disturb\\nthem more,\\nThey fell as fall the heroes and the\\nbrave\\nTheir days of toil and danger all are o er,\\nAnd we wreathe our fairest flowers for\\ntheir grave,\\n3", "height": "2704", "width": "1496", "jp2-path": "practicaldialogu00iris_0037.jp2"}, "38": {"fulltext": "34 RACTICAL DIALOGUES\\n3. Dissension, strife, and liate have passed\\naway,\\nO er all our land our starry banner\\nwaves\\nBut we honor still the boys in Blue and\\nGray,\\nAnd twine our fairest garlands for\\ntheir graves.\\nAs she finishes speaking, the Goddess of\\nLiberty marches up the center of stage to\\nthe back, passing between the lines of boys\\nand girls, and hangs her wreath of flowers\\nabove the inscription, To Our Fallen\\nHeroes, which is written on a sheet of\\ncardboard, and fastened to the wall at back\\nof stage before the exercise begins.\\nUncle Sam now marches up the right side\\nof stage and joins the Goddess of Liberty\\nthey march together down the stage, pass-\\ning between the lines of boys and girls who\\nstill stand facing each other. At the front of\\nstage Uncle Sam turns to the left, and the\\nline of boys follows him, while the girls fol-\\nlow the Goddess of Liberty, who turns to the\\nright. The two files pass up the sides of", "height": "2724", "width": "1748", "jp2-path": "practicaldialogu00iris_0038.jp2"}, "39": {"fulltext": "THE BLUE AND THE GRAY 35\\nstage; on reaching the C of back, Uncle\\nSam stops, and the first five boys march on\\npast him, face the front of stage, and halt,\\nwhile the other five boys stop in line at the\\nleft of Uncle Sam, face the front, and halt.\\nIn this manner a line is formed across the\\nstage with Uncle Sam in the center. At\\nthe same time, and in like manner, the girls\\nform a second line across the stage, just\\nback of the boys, with the Goddess of Lib-\\nerty in the center. When all are in position,\\nthe lines march to front of stage, eleven\\nabreast, where they halt, and sing the first\\nand last stanzas of America, the boys\\nwaving their flags as they sing. At the\\nconclusion, the lines face the left, form\\ncouples, march up the left side of stage,\\nacross back, and exeunt at right side.", "height": "2704", "width": "1492", "jp2-path": "practicaldialogu00iris_0039.jp2"}, "40": {"fulltext": "A SPRING ROMANCE\\nAN ARBOR DAY EXERCISE FOR TEN\\nCHILDREN\\nI St Child (enters carrying a large brancli\\nfrom which the leaves have been stripped):\\nThis is a branch of a tree.\\n2d Child (takes place by the first, carrying\\nin each hand a cluster of green leaves\\neither natural or cut from green paper):\\nThese are the leaves of shining green,\\nThat grew on the branch you just have\\nseen.\\n3d Child (carries a bunch of grass in each\\nhand, and takes place beside the two\\nothers):\\nThis is the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green\\nThat grew on the branch you just have\\nseen.\\n36", "height": "2712", "width": "1748", "jp2-path": "practicaldialogu00iris_0040.jp2"}, "41": {"fulltext": "A SPRING ROMANCE 37\\n4ih Child (carries a bouquet of buttercups):\\nThese are the Buttercups yellow as gold,\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green\\nThat grew on the branch you just have\\nseen.\\n5th Child (carries bouquet of dandelions):\\nThese are the Sir Dandelions bold,\\nWho loved the Buttercups yellow as gold\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green\\nThat grew on the branch you just have\\nseen.\\n6th Child (carries a bunch of Jack-in-the-\\npulpits)\\nThese are Jack-in-the-pulpits, calm and\\nproud.\\nWho married the Sir Dandelions bold\\nWho loved the Buttercups yellow as gold\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green", "height": "2704", "width": "1492", "jp2-path": "practicaldialogu00iris_0041.jp2"}, "42": {"fulltext": "38 PRACTICAL DIALOGUES\\nThat grew on the branch you just have\\nseen.\\n7th Child (carries bouquet of wood lilies)\\nThese are the Lilies whose bells rang loud\\nWhen the Jack-in-the-pulpits, calm and\\nproud,\\nMarried the Sir Dandelions bold\\nWho loved the Buttercups yellow as gold\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green\\nThat grew on the branch you just have\\nseen.\\n8th Child (carrying a bird):\\nThis is the Birdie who sweetly sang\\nAs the Lilies rang their bells so loud\\nWhen the Jack-in-the-pulpits, calm and\\nproud,\\nMarried the Sir Dandelions bold\\nWho loved the Buttercups yellow as gold\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green", "height": "2724", "width": "1740", "jp2-path": "practicaldialogu00iris_0042.jp2"}, "43": {"fulltext": "A Spring romance 39\\nThat grew on the branch you just have\\nseen.\\n9th Child (carries a bird s nest):\\nThis is the nest where the Birdie swung\\nThe while his song he sweetly sung\\nAs the Lilies rang their bells so loud\\nWhen the Jack-in-the-pulpits, calm and\\nproud,\\nMarried the Sir Dandelions bold\\nWho loved the Buttercups yellow as gold\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green\\nThat grew on the branch you just have\\nseen.\\nloth Child (makes bow as he or she begins\\nto speak)\\nI am the child who gayly ran\\nTo see the nest where the Birdie swang\\nThe while his song he sweetly sang\\nAs the Lilies rang their bells so loud\\nWhen the Jack-in-the-pulpits, calm and\\nproud,\\nMarried the Sir Dandelions bold\\nWho loved the Buttercups yellow as gold", "height": "2700", "width": "1496", "jp2-path": "practicaldialogu00iris_0043.jp2"}, "44": {"fulltext": "40 PRACTICAL DIALOGUES\\nWho lived in the grass so soft and clean\\nThat covered the ground neath the leaves\\nof green\\nThat grew on the branch you just have\\nseen.", "height": "2724", "width": "1772", "jp2-path": "practicaldialogu00iris_0044.jp2"}, "45": {"fulltext": "MOTHER NATURE S PARTY\\nAN ARBOR DAY EXERCISE FOR TWENTY-\\nSEVEN CHILDREN\\nEnter Mother Nature, dressed in green skirt trimmed with\\nleaves and branches, white waist trimmed with flowers, and\\na large, flower-trimmed hat.\\nMother Nature\\nGladly do I once more welcome\\nThis day when birds and flowers hold\\nsway;\\nFor each year as it comes to us,\\nThe songs and rhymes of Arbor Day\\nAwake sweet echoes in the heart,\\nAnd thrill us with their tender lay.\\nThe storm-tossed oak of forest vast,\\nThe graceful shade tree of the town;\\nThe cheery messengers of song.\\nIn brilliant hues or sober brown;\\nThe flowers radiant and fair,\\nTo boys and girls have dearer grown,\\nAnd in the Nature language quaint\\nTheir secrets marvelous made known.\\n41", "height": "2704", "width": "1480", "jp2-path": "practicaldialogu00iris_0045.jp2"}, "46": {"fulltext": "42 PRAcl ICAt DiAtOGUKS\\nFrom Nature s book in grove and field,\\nWith wond rous lessons therein penned,\\nThese boys and girls have learned to call\\nThe tree, the bird, and blossom, friend.\\nCommon trees and how to know them.\\nThe wild flowers sweet, and where they\\ngrow.\\nThe haunts and habits of the birds,\\nThe children now delight to know.\\nAnd scarce can I express to you\\nThe joy I feel that this is true.\\n[Enter King Useful, dressed in a dark robe\\n(a black shawl can be draped to answer)\\nand gilt crown, and Queen Beautiful\\ndressed in robe of white and gilt crown.]\\nKing Useful\\nAh, Mother Nature, I who seek\\nFor that which is of use to man.\\nHave come to hear your children prove\\nTheir usefulness if so they can.\\nQueen Beautiful\\nAnd, Nature dear, I who would fain\\nGive beauty and her court full sway,\\nHave come to hear if tree and flower,", "height": "2724", "width": "1744", "jp2-path": "practicaldialogu00iris_0046.jp2"}, "47": {"fulltext": "MOTHER NA TURE s PAR TY 43\\nWho beautify the world, they say,\\nProve their claim to the aesthetic\\nOn this, their boasted Arbor Day.\\nNature\\nGladly do I bid you welcome\\nAnd hope erelong to prove to you\\nThat my children s claim to beauty,\\nAnd likewise usefulness, is true.\\nKing Useful, kindly have a seat.\\nAnd you. Queen Beautiful, I pray.\\nMy birds, my trees, and lovely flowers\\nWill hold their revels here to-day.\\n[At back of stage have three chairs deco-\\nrated with boughs and flowers. Mother\\nNature takes the center one, while K. U.\\nsits on her right and Q. B. on her left.\\nEnter eight boys wearing caps and ruffles\\nof green, their jackets trimmed with\\ngreen leaves, and each carr3dng a green\\nbough.]\\nMarching in in single file the boys march\\naround the stage in a circle, then a square,\\nand lastly, a triangle whose apex is at cen-\\nter of front of stage. From here they pass", "height": "2704", "width": "1496", "jp2-path": "practicaldialogu00iris_0047.jp2"}, "48": {"fulltext": "44\\nPRACTICAI, DIALOGUES\\nUp center of stage, first boy turns to right,\\nsecond to left, and so on. As they march,\\nthey wave branches. They take positions\\nthus:\\n(n-ABL.\\no\\nI\\nJ\\nF T*. o, /s T.\\nThey now speak as follows\\n1st Boy:\\nKind Mother Nature, we have come\\nTo celebrate our Arbor Day,\\nAnd claim for leafy, green-robed trees\\nThe privilege to hold for aye\\nThe foremost place in Nature s heart\\nFor reasons which we now impart.", "height": "2724", "width": "1812", "jp2-path": "practicaldialogu00iris_0048.jp2"}, "49": {"fulltext": "MOTHER nature s PARTY 45\\n26. Boy\\nSpacious dwellings, cabins lowly,\\nHomes throughout this world so wide.\\nRecord bear of timbered giants\\nMillions once the forest s pride.\\nAttempt to name them, ye who can,\\nThe comforts that trees furnish man\\n3d Boy\\nWhen the summer sun is blazing,\\nAnd the world seems born of heat.\\nThen our verdant, spreading branches\\nOffer welcome, cool retreat.\\nHow sweet to thus the world evade\\nAnd idly dream beneath our shade\\n4th Boy\\nFor cheer and comfort that we bring\\nWhen autumn comes and days grow chill\\nWhen. Sir Jack Frost begins his work\\nAnd winter winds blow loud and shrill\\nT is then the forest monarch bold\\nWith ruddy warmth dispels the cold.\\n5th Boy\\nHe who studies agriculture\\nAnd turns his thoughts unto the soil,", "height": "2700", "width": "1496", "jp2-path": "practicaldialogu00iris_0049.jp2"}, "50": {"fulltext": "46 PRACTICAL DIALOGUES\\nFinds tlie presence of the forest\\nTo barrenness a ready foil.\\nThe climate, soil, and waterway\\nYield to its power day by day.\\n6th Boy\\nOur spreading canopies of green,\\nO erhanging graceful branches strong\\nOur myriads of dancing leaves\\nWhich answer to the wind s sweet song\\nOur autumn hues of brilliant glow.\\nDo they not wond rous beauty show\\n7th Boy\\nWhen, stripped of summer s leafy crown.\\nOur graceful boughs are brown and bare,\\nA rugged, somber beauty still\\nOur moss-grown, lichened branches wear\\nOr, clothed in robe of dazzling white,\\nLike dreams of glory we shine bright.\\n8th Boy\\nThe boys who clamber o er our boughs,\\nThe birds who here their homes have made,\\nThe sweet-faced maids and dollies fair\\nWho love to play beneath our shade,", "height": "2724", "width": "1752", "jp2-path": "practicaldialogu00iris_0050.jp2"}, "51": {"fulltext": "MOTHER nature s PARTY 47\\nAre we of use to them, think ye?\\nAsk them, Nature dear, and see.\\n[Starting with Nos. 7 and 8 as leaders\\nthe boys pass to front of stage, turn and\\nmarch up sides, then meet and form a\\nstraight line back of Nature and her guests.\\nEnter eight girls dressed in white. Two\\nhave blue cheese-cloth sashes, wear wreaths\\nof violets, and carry bouquets of them two\\nhave yellow sashes and buttercups two\\npink sashes and roses two, white sashes\\nand white flowers.]\\nEntering in single file the girls march to\\ncenter of front of stage and then form a", "height": "2696", "width": "1496", "jp2-path": "practicaldialogu00iris_0051.jp2"}, "52": {"fulltext": "48 PRACTICAL DIALOGUES\\nMarcliing to right comer they next form a-\\nX .y\\nand then passing to center of front they\\nmarch up the center of stage, and take\\nplaces where the boys stood when they\\nspoke.\\nist Girl speaks\\nDear Nature, we the flowers come\\nTo give you greeting and to say\\nThat we are first in Nature s realm,\\nAnd thus should win the palm to-day.\\n2d Girl\\nColors wonderful we re wearing.\\nThe tints of our fair azure blue.\\nAnd sunset hues so radiant.\\nWhere heaven s glory shineth through.\\n3d Girl:\\nThe desert places of the earth,\\nThe cheerless corners here and there,", "height": "2724", "width": "1736", "jp2-path": "practicaldialogu00iris_0052.jp2"}, "53": {"fulltext": "MOTHER NATURE^S PARTY 49\\nAre made to blossom into bowers\\nWhen brigbtened by our colors rare.\\n4th Girl:\\nBy our quiet zeal and patience,\\nEach blooming gladly in her place,\\nShining in a humble comer,\\nWe teach humility and grace.\\n5th Girl\\nWith our brightness like the sunshine,\\nWe banish gloom and brooding care\\nBringing cheer to hearts of sorrow.\\nPlanting hope and solace there.\\n6th Girl\\nSilently our fragrance riseth,\\nAnd like sweet incense spreadeth wide,\\nOfttimes even thus revealing\\nThe quiet places where we hide.\\n7th Girl\\nOur messages of love and peace\\nWe gently whisper day by day.\\nTeaching purity and goodness.\\nDriving thoughts of sin away.", "height": "2704", "width": "1500", "jp2-path": "practicaldialogu00iris_0053.jp2"}, "54": {"fulltext": "50 PRACTICAL DIALOGUES\\nStliGirl:\\nWe would point the merry children\\nTo the Heavenly Father above\\nFor though we neither toil nor spin\\nWe are the care of his great love.\\n[The girls now march to center of front\\nof stage where the lines meet and cross,\\nthose on right going to left of stage and\\nthose on the left going to right. Pass to\\ncomers, up sides, and stand, four girls at\\neach end of the line of boys. Bnter four\\nboys and four girls. One boy wears a red\\ncap and waist one a cap and waist of blue\\none of yellow, and the other of gray or\\nbrown. The girls wear cheese-cloth dresses\\ncorresponding to the colors worn by the\\nboys one having blue, one red, and so\\non.]\\nMoving the arms up and down at the\\nsides to imitate flying, the birds skip twice\\naround the stage, and then passing up the\\ncenter, take the places just vacated by the\\ngirls.", "height": "2720", "width": "1740", "jp2-path": "practicaldialogu00iris_0054.jp2"}, "55": {"fulltext": "MOTHER nature s PARTY 51\\nI St Child\\nHere come tlie birds,\\nHappiness bringing\\nPraises to Nature\\nJoyfully singing.\\n2d Child:\\nBright little eyes,\\nAll things espying\\nSwift little wings\\nOutspread for flying.\\n3d Child:\\nFluffy down coats, gift of a fairy,\\nFluttering motions, graceful and airy.\\n4th Child\\nSoft little nests, swaying and swinging\\nSweet little songs, swelling and ringing.\\n5th Child\\nFrail little eggs, wonderful treasure\\nNestlings beloved, cared for with pleasure.\\n6th Child\\nDear little messengers, sent from above\\nGift of our Father, care of his love.", "height": "2704", "width": "1500", "jp2-path": "practicaldialogu00iris_0055.jp2"}, "56": {"fulltext": "52 PRACTICAL DIALOGUES\\nytli Child:\\nBriglit rays of light, soaring and winging\\nSetting all hearts attune to their singing.\\n8th Child\\nAnd now, Nature dear, we do maintain\\nThat in thy courts the birdies should reign.\\nAll eight sing.\\nTune Billy Boy.\\n1. Oh, are we of use. Nature dear. Nature\\ndear?\\nOh, are we of use. Mother Nature\\nAsk the farmer if you will,\\nFor we do the insects kill,\\nAnd we thus save his crops from de-\\nstruction.\\n2. Oh, are we beloved, Nature dear. Nature\\ndear?\\nOh, are we beloved. Mother Nature\\nAsk the children blithe and gay\\nHow the world would seem to-day\\nIf the birds should all suddenly cease\\nsinging.", "height": "2724", "width": "1732", "jp2-path": "practicaldialogu00iris_0056.jp2"}, "57": {"fulltext": "MOTHER nature s PARTY 53\\nMother Nature (rising)\\nDear flowers, trees, and merry birds,\\nWhat each has said is very true,\\nAnd yet the first place in my realm\\nI must deny to each of you.\\nThere is no first, and he lives best\\nWho cheerfully his work doth do.\\nWe can not spare our flowers or trees,\\nThose children fair, of vast estate;\\nWe can not spare our merry birds,\\nThose creatures small whose power is\\ngreat,\\nBut each must do the best you can\\nTo beautify this world of ours,\\nAnd give your service willingly,\\nWhether birds or trees or flowers.\\nThe trees, birds, and flowers now form a\\ncircle, and march around the stage singing.\\nTune: America.\\nI. Our land so broad and free.\\nThis home of flower and tree,\\nIs wond rous fair:\\nGay blossoms brightly sheen,\\nWide spread the tents of green.", "height": "2704", "width": "1496", "jp2-path": "practicaldialogu00iris_0057.jp2"}, "58": {"fulltext": "54 PRACTICAL DIALOGUES\\nWhile swiftly o er tlie scene\\nBirds wing the air.\\n2. On this glad Arbor Day\\nWe now to nature pay\\nThe homage due\\nFlower and bird and tree,\\nNature s own children free,\\nHere pledge their loyalty\\nAnd service true.\\nThey march from stage in single file,\\nbirds first, flowers next, trees third, then\\nQueen Beautiful, King Useful, and lastly\\nMother Nature.", "height": "2724", "width": "1728", "jp2-path": "practicaldialogu00iris_0058.jp2"}, "59": {"fulltext": "A PICTURE GALLERY\\nTHANKSGIVING EXERCISE FOR SEVENTEEN\\nCHILDREN\\n[Across tlie stage stretch a rope or wire,\\nand on it hang curtains (shawls or sheets\\nmay be used), as shown in the cut. Secure\\nan old picture frame of good size and fit it\\nwith a mat (a) of white cardboard. Fasten\\nthe frame to a dry-goods box (the front of\\nwhich is also covered with a drapery) so\\nthat it stands nearly perpendicular (the top\\nof frame inclining slightly backward).\\nAs the poem is read by a child standing\\nin front of the curtain the various characters\\ncome on in turn and pose in the frame,\\nwhich should be high enough so that small\\nchildren when standing back of it present a\\nbust view those who are taller can kneel\\non a low box or stool. Just back of the\\nframe (leaving the required passageway for\\nthe posers) place a black screen for a back-\\nground to the pictures.\\n55", "height": "2692", "width": "1520", "jp2-path": "practicaldialogu00iris_0059.jp2"}, "60": {"fulltext": "56 PRACTICAL DIALOGUES\\nBy a little ingenuity tlie children can be\\nmade up to take tlie various parts with\\npleasing success.]\\nDear friends, I have some pictures here\\nI m going to show to you.\\nAnd though they re not all handsome,\\nThe likenesses are true.\\nWe always meet Thanksgiving time\\nYou see we re all relation\\nTo keep the day when songs of praise\\nAre sung throughout our nation.\\nI think Thanksgiving days are fine,\\nThe dinners are so good\\nBut I can t eat half the goodies\\nI always wish I could.\\nThough far from eloquent, I 11 now\\nProceed without more fuss\\nTo show the folks who re going to spend\\nThanksgiving day with us.\\nist Picture\\nThis first, of course, is grandpa.\\nHe s getting rather old,\\nBut he knows some jolly stories.\\nAnd he s just as good as gold.\\nHe says there s no one rich or poor", "height": "2724", "width": "1744", "jp2-path": "practicaldialogu00iris_0060.jp2"}, "61": {"fulltext": "A PICTURE GALLERY 57\\nUnless they re dreadful cranks,\\nBut wlio can find just lots of things\\nFor which to offer thanks.\\n2d Picture\\nThis is grandma, who, when young,\\nWas handsome, so they say\\nBut now her face is wrinkled\\nAnd her raven locks are gray.\\nShe s always very cheerful,\\nAnd never sad or drear.\\nBecause she thinks Thanksgiving time\\nShould last through all the year.\\n3d Picture\\nThis next one is my father.\\nAnd he s always telling me\\nHow very many things I have\\nFor which to thankful be.\\nWhen he was young, he had to work\\nFrom morn till setting sun.\\nAnd could n t spend his time in school\\nOr looking after fun.\\nI assure you I am thankful\\nThat times are changed to-day,\\nFor I know I d not enjoy it\\nTo have to work that way.", "height": "2696", "width": "1632", "jp2-path": "practicaldialogu00iris_0061.jp2"}, "62": {"fulltext": "58 PRACTICAL DIALOGUES\\n4tli Picture\\nNow this one is my mamma,\\nAnd she s a darling, too\\nYou can not find her equal if\\nYou hunt the wide world through.\\nAnd when Thanksgiving day comes round,\\nOh, what a feast she makes\\nSuch pumpkin pies and puddings rich,\\nSuch cookies, bread, and cakes\\nI tell you I feel thankful for\\nThe things my mother bakes\\n5th Picture\\nThis man who looks so solemn\\nIs Uncle Peter White,\\nAnd cause he is a preacher.\\nHe always does what s right.\\nThanksgiving day he says he hopes\\nWe 11 live as we should do,\\nAnd never cease from giving thanks\\nAll the whole year through.\\n6th Picture\\nNow this is Uncle Jerry Smith,\\nWith such a beaming face\\nWe d hate to have Thanksgiving\\nWithout him in his place.", "height": "2724", "width": "1724", "jp2-path": "practicaldialogu00iris_0062.jp2"}, "63": {"fulltext": "A picture: gallery 59\\nHe tells the greatest stories\\nThat ever you did hear\\nSometimes we laugh or cry, and then\\nWe sit and shake with fear.\\n7th Picture\\nThis next one is Aunt Sarah,\\nDear Uncle Jerry s wife.\\nDid you ever see a picture\\nLook crosser in your life\\nThat s because she scolds so much,\\nAnd finds fault ev ry day.\\nIf I were uncle, I d give thanks\\nIf she would run away.\\n8th Picture\\nAnd this is Aunt Priscilla,\\nDescendant of that band\\nWho years ago on Plymouth s shores,\\nFor freedom made their stand.\\nShe has the old-time fearlessness.\\nAnd yet the gentle way,\\nOf those who instituted\\nThe first Thanksgiving Day.\\n9th Picture\\nThis next one is my brother Joe,\\nWho is so very clever.", "height": "2704", "width": "1608", "jp2-path": "practicaldialogu00iris_0063.jp2"}, "64": {"fulltext": "6o PRACTICAL DIALOGUES.\\nTo be our nation s president\\nI think is his endeavor.\\nI m snre I most sincerely hope\\nHe 11 carry out his plan,\\nFor I d like to be related\\nTo such a noted man.\\nIf he should be the president,\\nWith 50,000 pay.\\nWe folks could have Thanksgiving feasts\\nFor dinner ev ry day.\\nloth Picture\\nThis is my big sister Mildred\\nYou ought to hear her sing\\nShe has the finest dresses,\\nAnd wears a diamond ring.\\nShe does her hair up very high.\\nAnd goes to parties fine\\nHow truly thankful I should be\\nIf all that fun were mine.\\nnth Picture\\nThis is Cousin Edwin White,\\nWho s very fond of books\\nBut then, I need n t tell you so,\\nYou d know it by his looks.", "height": "2724", "width": "1796", "jp2-path": "practicaldialogu00iris_0064.jp2"}, "65": {"fulltext": "A PICTURE GALLERY 6l\\nHe has studied lots and lots of things,\\nAnd knows em all by heart\\nI should think he d be real thankful\\nBecause he is so smart.\\n1 2th Picture\\nCousin Mary is the next,\\nAnd she s the queerest girl\\nShe does n t care to be fixed up,\\nOr have her hair in curl.\\nShe has a rifle of her own.\\nAnd fires it like a man I\\nOne day she saw a wild cat,\\nAnd never even ran, but\\nKilled it dead as anything\\nShe says that hunting s fun.\\nAnd when Thanksgiving day comes round,\\nShe gives thanks for her gun.\\n13th Picture\\nThese are our Aunt Sarah s twins,\\nLe Roy and Mary Jane.\\nI think they re real nice cousins.\\nAlthough they re rather plain.\\nLe Roy laughed, but Jane was scared\\nTo have her picture took, and", "height": "2696", "width": "1608", "jp2-path": "practicaldialogu00iris_0065.jp2"}, "66": {"fulltext": "62 PRACTICAL DIALOGUES.\\nThat s tlie reason that she has\\nThat dreadful frightened look.\\nThey are n t so very much alike,\\nExcept that both are dark,\\nBut mamma says when they were small\\nFolks could n t tell em part.\\n14th Picture\\nThis little pet with curly hair\\nIs darling Sister Nell.\\nShe s so good that we all love her\\nMore than we can tell.\\nShe s like a dainty flower fair.\\nOr ray of sunshine bright,\\nAnd the only time she s quiet\\nIs when she s sleep at night.\\nWhen we re counting up our blessings\\nOn Thanksgiving, I can tell\\nThat the first thing on the list\\nWill be our precious Nell.\\n15th Picture:\\nThis last one is my cousin Bess\\nShe and I are chums.\\nWe re going to have a splendid time\\nWhen Thanksgiving comes.", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0066.jp2"}, "67": {"fulltext": "A PICTURE GALLERY 63\\nWhen they call us out to dinner,\\nShe 11 sit right next to me\\nAnd the more good things we eat,\\nThe thankfuller we 11 be.\\nAlthough she has a turn-up nose.\\nShe suits me to a T.\\nAnd now we re through you ve seen\\nthem all\\nJust seventeen with me,\\nAnd at our glad Thanksgiving feast\\nHow merry we shall be\\nI hope that each of you, my friends.\\nWill enjoy Thanksgiving too.\\nBut don t forget to thankful be.\\nWhatever else you do.\\nYou know it s just as grandpa says,\\nT is only foolish cranks\\nWho can not find a host of things\\nFor which to offer thanks.", "height": "2704", "width": "1640", "jp2-path": "practicaldialogu00iris_0067.jp2"}, "68": {"fulltext": "BB THANKFUL\\nA THANKSGIVING EXERCISE FOR TEN\\nLITTLE GIRLS\\nEach girl wears a white turn-down collar and wide white\\ncuffs of Puritan style, and a white cardboard crown. On\\neach crown is pasted a letter cut from gilt paper, the letters\\nto spell B-e T-h-a-n-k-f-u-1.\\nThe speakers come on in turn, one at a time, and having\\nspoken remain standing in line.\\nI St Girl\\nFor sturdy Pilgrim Fathers, true and\\nbrave,\\nWho the custom of Thanksgiving to us\\ngave.\\nOh let us all give thanks\\n2d Girl\\nFor hills and valleys, trees and lovely flow-\\ners,\\nThat so beautifully adorn this world of\\nours,\\n(Both girls) Oh let us all give thanks\\n3d Girl:\\nFor health, that blessing we should deem\\nmost rare,\\n64", "height": "2724", "width": "1724", "jp2-path": "practicaldialogu00iris_0068.jp2"}, "69": {"fulltext": "BE THANKFUL 65\\nThe gift which each should treasure with\\ngreat care,\\n(The three girls) Oh let us all give thanks\\n4th Girl\\nFor home, the spot so dearly loved by all.\\nWhether cottage, hut, or mansion tall,\\n(The four girls) Oh let us all give thanks\\n5th Girl\\nFor playmates, friends, and loving parents\\ndear.\\nWho make our lives so very happy here,\\n(All five) Oh let us all give thanks\\n6th Girl\\nFor dresses, cloaks, hats, mittens, capes, and\\nshoes,\\nAnd all the other garments that we use,\\n(All six) Oh let us all give thanks\\n7th Girl\\nKnowledge is the power that surely rules,\\nSo for our colleges and for our schools\\n(All seven) Oh let us all give thanks", "height": "2704", "width": "1608", "jp2-path": "practicaldialogu00iris_0069.jp2"}, "70": {"fulltext": "66 PRACTICAL DIAI.OGUES\\nStliGirl:\\nAh, there is mucii in life to make us glad,\\nAnd for the merry, happy times we ve had\\n(All eight): Oh let us all give thanks\\n9th Girl:\\nFor the turkey and the feast that we\\nexpect\\nTo have Thanksgiving, let us not neglect\\n(All nine) To all give thanks.\\nloth Girl\\nFor Thanksgiving time most welcome\\nof all days,\\nWhen cheer abounds and hearts are turned\\nto praise,\\n(All ten) Oh let us all give thanks I\\n(All in concert):\\nThere is no life, however sad or drear,\\nBut that some ray of sunshine comes to\\ncheer\\nThen let us gladly look to God above.\\nAnd for these many blessings of his love\\nOh let us all give thanks", "height": "2724", "width": "1768", "jp2-path": "practicaldialogu00iris_0070.jp2"}, "71": {"fulltext": "PUMPKIN PIE\\nA THANKSGIVING EXBRCISH FOR\\nFOUR BOYS\\nThe boys marcli on to the stage in line,\\neach carrying a small plate, on which is a\\npiece of pumpkin pie.\\nI St Boy\\nHave your turkey if you will.\\nThe largest one in town,\\nFilled up with sav ry stuffing\\nAnd nicely roasted brown\\nA turkey s very good I know.\\nBut that for which I sigh\\nWhene er Thanksgiving day comes round\\nIs a piece of pumpkin pie.\\n(All the boys together):\\nOh, it s mince pie, apple pie, lemon pie, and\\ncherry\\nMany kinds of pie have we on Thanksgiv-\\ngiving merry\\nBut give to me, I beg of you, the one for\\nwhich I sigh,\\n67", "height": "2704", "width": "1608", "jp2-path": "practicaldialogu00iris_0071.jp2"}, "72": {"fulltext": "68 PRACTICAL DIALOGUES\\nThe kind that beats them all, the deli-\\ncious\\n[Each boy takes his piece of pie up in\\nhis hand, holds it out toward audience, then\\ntakes a generous bite from it. As he eats\\nit, he smiles happily.]\\n2d Boy\\nFill up on roast pig if you wish,\\nOr tempting salads rare.\\nAnd enjoy your fancy cooking\\nConcocted with great care.\\nSuch things are good, I will admit,\\nAnd yet it makes me cry\\nIf on Thanksgiving I don t get\\nA piece of pumpkin pie.\\n[All speak together as before, then take a\\nsecond bite of pie.]\\n3d Boy\\nPerhaps you *re fond of puddings rich,\\nAnd many kinds of cake\\nThat make you have bad dreams at night,\\nOr else keep you awake\\nI, too, can eat such stuff as that\\nIf I m a mind to try.", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0072.jp2"}, "73": {"fulltext": "PUMPKIN PIE 69\\nBut give to me, I beg of you,\\nA piece of pumpkin pie.\\n[All speak together as before, and take\\na tbird bite of pie.]\\n4tb Boy\\nJelly, fruit, and plum preserves\\nAre pleasing to the taste\\nWbile pickles, nuts, and apple sauce\\nShould never go to waste\\nBut when Thanksgiving day comes round.\\nIt surely is no lie.\\nThat what I like the best of all\\nIs a piece of pumpkin pie.\\n[Speak in concert as before, then finish\\neating the pie. When it has all disap-\\npeared, the boys march off waving the empty\\nplates.]", "height": "2704", "width": "1648", "jp2-path": "practicaldialogu00iris_0073.jp2"}, "74": {"fulltext": "AT CHRISTMAS TIME\\nAN EXERCISE FOR TEN BOYS AND\\nTEN GIRLS\\nBnter four boys wearing caps and jackets\\ntrimmed witli evergreen, and each carrying\\nan evergreen bough.\\nI St Boy speaks\\nThere is a certain kind of tree\\nAnd t is the best of all, to me\\nThat I am always glad to see.\\nIt is it is\\n[All the boys in concert waving their\\nboughs.]\\nThe Christmas Tree\\n2d Boy\\nWelcome gifts for one and all,\\nPresents large and presents small.\\nAre on the shining branches tall\\n[All the boys in concert, waving their\\nbranches.]\\nOf the wonderful Christmas tree I\\n70", "height": "2724", "width": "1776", "jp2-path": "practicaldialogu00iris_0074.jp2"}, "75": {"fulltext": "AT CHRISTMAS TIME 7 1\\n3d Boy Speaks\\nWitli tinsel gay and pop com white,\\nAnd brilliant candles gleaming bright,\\nOb what a charming, dazzling sight\\n[All the boys as before.]\\nIs the beautiful Christmas tree I\\n4th Boy:\\nTo boys and girls t is very dear.\\nAnd since the time is drawing near\\nFor it to again appear,\\nOh, make it welcome while it s here,\\n[All the boys as before.]\\nAnd hurrah fod: the Christmas tree 1\\n[The two boys nearest the right turn to\\nthe right of stage, pass up the right side,\\nand halt at back of stage, standing two feet\\napart the other two boys face the left, pass\\nup left side, and halt in line with the first\\ntwo, also leaving a two-foot space between\\nthem. When the boys are in position,\\nthere enter four girls dressed in white,\\ntrimmed with holly, wearing a wreath of it\\non the head and each carrying a bunch of", "height": "2712", "width": "1648", "jp2-path": "practicaldialogu00iris_0075.jp2"}, "76": {"fulltext": "72 PRACTICAL DIALOGUES\\nit. They stand in line at front of stage and\\nspeak.]\\nist Girl\\nWhat day do boys and girls like best\\nOf all the days in the year\\nWhat one is nicer than the rest\\nNow speak and let me hear.\\n[The other three girls in concert.]\\nOh, we can answer right away\\nIt is the welcome Christmas day.\\n2d Girl\\nWhy do we keep this blessed day,\\nAnd our Christmas carols sing,\\nWhile peace and glad good will hold sway\\nAs the bells their sweet chimes ring\\n[The other girls in concert.]\\nBecause in Bethlehem afar\\nThe Wise Men, guided by the star,\\nFound the Christ child where he lay\\nOur Saviour, bom on Christmas day.\\n3d Girl\\nWhat chosen garlands do we bear\\nA favorite of long ago", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0076.jp2"}, "77": {"fulltext": "AT CHRISTMAS TIMB 73\\nTo deck our Christmas bowers fair\\nWith shining green and crimson glow\\n[The other girls in concert.]\\nThe holly bright with leaves of green\\nThe holly is the Christmas queen\\n4th Girl\\nThese branches are the emblem\\nOf the Christmas joy and cheer,\\nAnd gladly now we bring them,\\nFor the merry day is near.\\n[All four girls in concert, waving their\\nbranches of holly.]\\nYes, fondly do we love them,\\nAnd wreathe our garlands of them\\nFor the holly with its leaves of green,\\nThe holly is our Christmas queen.\\n[Two of the girls turn to right, and two\\nto left, pass up the sides of stage, and take\\nplaces in the spaces left between the boys,\\nthus forming a line of eight, with the girls\\nand boys alternating. Four boys then\\nenter, three joining hands and walking\\nabreast, the two on the outside each holding", "height": "2704", "width": "1656", "jp2-path": "practicaldialogu00iris_0077.jp2"}, "78": {"fulltext": "74 PRACTICAL DIALOGUES\\none end of a string of pop corn (popped and\\nstrung on stout thread), tlie middle boy\\nholding a string in each hand. The fourth\\nboy acts as driver, and holds the other ends\\nof the strings. Starting from the center of\\nback the boys prance twice around the\\nstage, then come down the center to the\\nfront where the boys who acted as horses\\ndrop their ends of the strings. The driver\\npulls them up, and winds them quickly\\naround his body one twice around his\\nneck and letting the ends hang, a second\\naround his waist, the other two from the\\nshoulders diagonally across the chest. He\\ntakes his place in line by the others, and\\nthe four boys stop in line at the front of\\nthe stage where they speak the driver\\nfirst.\\nist Boy\\nSuch lots of goodies as we have\\nOn merry Christmas day\\nSometimes when we can t eat them all\\nWe use them for our play.\\n2d Boy [who has half a dozen small pop-\\ncorn balls (each fastened to a string", "height": "2724", "width": "1804", "jp2-path": "practicaldialogu00iris_0078.jp2"}, "79": {"fulltext": "AT CHRISTMAS TIMK 75\\nwhicli was put in when the ball was\\nmade) pinned on the front of his jacket]\\nI like the snowy pop-corn balls\\nThey re always nice and sweet\\nAnd though I m fond of candy, too,\\nThe pop-corn can t be beat.\\n3d Boy [whose jacket is decorated with\\nnuts and candy hearts. The nuts can be\\nstrung by burning holes in them with a\\nheated knitting needle]\\nThe Christmas nuts and candies\\nAre the goodies which I seek\\n1 m sure I wish that Christmas\\nWould come just once a week.\\n4th Boy [whose jacket is trimmed with rows\\nof orange peel]:\\nI agree that pop corn is good,\\nAnd candy and all the rest\\nBut of all the Christmas goodies\\nThe oranges suit me best.\\nThe boys in concert.\\nThen hurrah for merry Christmas\\nAnd hurrah for the goodies, too", "height": "2708", "width": "1664", "jp2-path": "practicaldialogu00iris_0079.jp2"}, "80": {"fulltext": "76 PRACTICAL DIALOGUES\\nWere it not for candy and sucli things,\\nWhatever would children do?\\n[The boys then march up sides of the\\nstage, and form in line just in front of the\\neight who have spoken previously, leaving\\nspaces as the first four boys did. Enter four\\ngirls dressed as fairies, wearing white gowns\\n(short) trimmed with gilt stars, gilt crowns,\\nand small white wings. Bach carries a\\nwand covered with gilt paper. They skip\\ntwice around the stage, then form in line at\\nthe front, and speak.\\nThe four in concert.\\nWe are the busy fairies\\nWho, by our help and cheer,\\nMake the merry Christmas day,\\nThe best of all the year.\\nI St Fairy\\nI am the fairy called Peace,\\nAnd sing to the world again\\nThe song the angels caroled.\\n[Chants slowly]\\nPeace on earth, good will to men.", "height": "2724", "width": "1780", "jp2-path": "practicaldialogu00iris_0080.jp2"}, "81": {"fulltext": "AT CHRISTMAS TIME J^\\n2d Fairy\\nI am the fairy called Joy,\\nAnd bring you the gladness and cheer\\nThat will make the coming Christmas\\nThe merriest day of the year.\\n3d Fairy\\nUnselfishness is my name,\\nAnd I teach the world to believe\\nThat to give will always be found\\nMore blessed than to receive.\\n4th Fairy\\nI am the fairy of Song,\\nAnd on the yule-tide days\\nI tune all hearts to sing\\nGlad carols and Christmas lays.\\n[The fairies then pass up the sides of\\nstage, and take their places in the spaces\\nleft by the boys on the front line. Enter\\ntwo boys and two girls, each carrying a\\nsmall, soft-toned bell. Forming in line at\\nfront of stage, they sing the following, ring-\\ning their bells softly those at back of stage\\nall join in the singing.]\\nTune Webb. (Found in any hymnal.)", "height": "2700", "width": "1668", "jp2-path": "practicaldialogu00iris_0081.jp2"}, "82": {"fulltext": "78 PRACTICAL DIALOGUES\\n1. While Christmas bells are ringing\\nO er ev ry land and sea,\\nIn peace and love abiding,\\nUnited let us be\\nLet ev ry heart rejoicing.\\nSing out in glad refrain,\\nWhile Christmas bells are ringing\\nPeace and good will to men.\\n2. While Christmas bells are ringing\\nWe lay all cares aside,\\nAnd to their merry chiming\\nEnjoy the Christmas tide\\nLet ev ry heart awaking,\\nThe season s carols sing.\\nIn peace and love abiding.\\nWhile loud the glad bells ring.\\nThe four at front of stage now pass up\\nthe sides, and halt just in front of the other\\ntwo lines. The children now have the posi-\\ntions as shown in the following diagram\\nG B G B G\\nB\\nG B\\nB G B G B\\nG\\nB G\\nd\\nG B G\\nFront.\\nB", "height": "2752", "width": "1792", "jp2-path": "practicaldialogu00iris_0082.jp2"}, "83": {"fulltext": "AT CHRISTMAS TIME 79\\nA lively marcli is tlien played, and the\\nboy at tlie left corner of back leads the line\\ndown the left side of stage, those on the sec-\\nond line facing the right, and following those\\non the back line, those on the front line fac-\\ning the left and following those on the sec-\\nond line. The file passes once around the\\nstage, then starting from left corner of\\nback forms a", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0083.jp2"}, "84": {"fulltext": "8o PRACTICAL DIALOGUES\\nthen starting again from left corner (back)\\nmarches thus\\n^x\\ny^\\ns\\ns.\\nV.\\nStarting again from left corner (back),\\nforms a\\ni \\\\i\\ni i", "height": "2724", "width": "1796", "jp2-path": "practicaldialogu00iris_0084.jp2"}, "85": {"fulltext": "AT CHRISTMAS TIME 8 1\\nand then marclies down tHe center; boys\\nturn to right, and girls to left, pass around\\nand form couples at back of stage. March\\ndown center in couples, and then off of\\nstage.", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0085.jp2"}, "86": {"fulltext": "WATCHING FOR SANTA\\nA CHRISTMAS EXERCISK FOR TWO LITTLE\\nGIRLS\\nBach little girl has on a long, white nightgown, and tiny\\nwhite nightcap.\\nist Girl:\\nTwo little maids brave maids are we,\\nFilled to the brim with joyous glee,\\nAnd this is the reason why\\nFrom our beds we ve slipped away,\\nAnd by the fireplace we shall stay.\\nAnd there one maid on either side\\nFrom Santa Claus we re going to hide\\nCause he s coming by and by.\\n2d Girl\\nWe ve never seen old Santa Claus\\nThe reason why is just because\\nHe s so very, very shy\\nI guess he s fraid of girls and boys.\\nBecause he always brings their toys\\nWay in the middle of the night,\\nAnd keeps from ev rybody s sight\\nAnd he s coming by and by.\\n82", "height": "2720", "width": "1724", "jp2-path": "practicaldialogu00iris_0086.jp2"}, "87": {"fulltext": "WATCHING FOR SANTA 83\\nist Girl\\nWe ve hung our stockings up two pair,\\nAnd we are going to stay right there\\nTo watch him on the sly\\nWhen they are full from top to toe,\\nWhy, then, we re going to jump out so,\\n[Step forward qiiickly]\\nAnd laugh at Santa Claus, and say.\\nWe ve got you now, and you must stay,\\nYes, we 11 catch him by and by.\\n2d Girl\\nWe 11 ask him just the mostest things,\\nBout where he gets the gifts he brings\\nWith his reindeer white and spry\\nOn dear old Santa s lap we 11 climb.\\nAnd won t we have a jolly time\\nBut I am sleepy, that is, some,\\nI wish he d hurry up and come.\\nAnd not wait till by and by.\\n[They go off rubbing their eyes sleepily.]", "height": "2708", "width": "1704", "jp2-path": "practicaldialogu00iris_0087.jp2"}, "88": {"fulltext": "SUNFLOWER MARCH AND DRILL\\nFOR SIX GIRLS\\nCostume: Dress of green cheese-cloth, made with close-\\nfitting waist and scant, plain skirt tight-fitting hood of\\ngreen cheese-cloth which fits close around the face, fastens\\nunder the chin, and has several rows of yellow tissue paper\\npetals turning back from the face of hood to form a sun-\\nflower. The ties of the hood should be of yellow cheese-\\ncloth, one third of a yard wide, and when tied in a bow\\n(with short loops), the ends should reach nearly to the\\nknees. The face must be blackened, and no hair allowed to\\nshow beneath the hood. Be careful to sew the paper petals\\nclear around the face of the hood so that the rows meet\\nunder the chin and leave no break or gap.\\nMusic: Any March.\\nTlie girls enter at back of stage, marcli\\ndown right side, across front, up left side,\\nacross to center of back, then down center\\nof stage, having line in single file. At\\nfront of stage Nos. i, 3, 5, turn to the right,\\nNos. 2, 4, 6, to the left, pass to front cor-\\nners of stage, up the sides, and meet at center\\nof back where they form couples. Couples\\nmarch to center of front where Nos. i, 3,\\n5, again turn to right and Nos. 2, 4, 6, to\\nleft; pass around stage as before and on\\n84", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0088.jp2"}, "89": {"fulltext": "SUNFLOWER MARCH AND DRILL 85\\nreacliing the center of back, No. i marches\\nalone down the center, Nos. 2 and 3 form\\na couple and Nos. 4, 5, 6, a trio thus:\\n546\\n3 2\\nOn reaching front of stage, Nos. i, 3, 5,\\nturn to right and Nos. 2, 4, 6, to the left,\\nmarch around, and forming a straight line\\nat back of stage, march to the front, six\\nabreast. At front of stage Nos. i, 3, 5, face\\nthe left, march to left comer of front, up\\nleft side Nos. 2, 4, 6 face the right, pass to\\nright corner, and up right side. At back of\\nstage they form two lines, Nos. i, 3, 5, on\\nfirst, Nos. 2, 4, 6, on second, march to front\\nof stage, and halt.\\nTaking a bonnet string in each hand\\n(holding it at the end), take position with\\nthe hands in the hollow of shoulders, and\\ngive the following movements\\na. Right hand out at side, arm s length,\\nand back four times.\\nb. L^ft hand the same.", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0089.jp2"}, "90": {"fulltext": "86 PRACTICAL DIALOGUES\\nc. Both hands extended at sides, arm s\\nlength, and back four times.\\nd. Alternate hands twice.\\ne. The right hand extended at side, then\\nas it is brought back to position, the left\\nis extended, and vice versa eight times.\\nf. Right hand extended in front of body,\\narm s length, and back four times.\\ng. Left hand the same.\\nh. Both hands out in front and back four\\ntimes.\\ni. Alternate hands twice.\\nj. Right hand out in front, then as it is\\nbrought back, the left is extended, and vice\\nversa eight times.\\nk. Right hand out at side once.\\n1. Left hand the same.\\nm. Right hand out in front once.\\nn. Left hand the same.\\no. Both hands out at sides once.\\np. Both hands out in front once.\\nEXERCISE II.\\na. Right hand up above head, arm s length,\\nand back four times.\\nb. Left hand the same.", "height": "2752", "width": "1768", "jp2-path": "practicaldialogu00iris_0090.jp2"}, "91": {"fulltext": "SUNFLOWER MARCH AND DRILL 87\\nc. Botli hands tip above liead four times.\\nd. Alternate hands twice.\\ne. Right hand up above head, and as it is\\nbrought back, the left is raised, and vice\\nversa eight times.\\nf. Right hand down at side, arm s length,\\nand back four times.\\ng. Left hand the same.\\nh. Both hands four times.\\ni. Alternate hands twice.\\nj. Right hand down at side, and as it is\\nbrought back, the left is lowered, and vice\\nversa eight times.\\nk. Right hand above head once.\\n1. Left hand the same.\\nm. Right hand down at side once.\\nn. Left hand the same.\\no. Both hands above head once.\\np. Both hands down at side once.\\nKXKRCISK III.\\na. With right foot step obliquely to the\\nright, and extend right hand obliquely in\\nsame direction four times.\\nb. Left hand and foot the same.", "height": "2720", "width": "1704", "jp2-path": "practicaldialogu00iris_0091.jp2"}, "92": {"fulltext": "88 PRACTICAL DIALOGUES\\nc. Riglit hand extended and laid on tlie\\nshoulder of the girl at the right, where it\\nrests during four measures of music.\\nd. Left hand the same on shoulder of\\ngirl at left.\\ne. Bach girl clasps her hands above her\\nhead, and holds them during four measures.\\nf. Each girl raises arms obliquely, and\\njoining hands with the girl on each side,\\nforms A s. Hold during four measures.\\ng. Extending arms horizontally at sides,\\nrotate bodies four times, swinging on the\\nright foot as pivot.\\nh. The same as g, except rotate in oppo-\\nsite direction.\\ni. With No. 2 as leader the back line\\nfaces the left, and marches in front of No. 5,\\nback of No. 3, in front of No. i, and returns\\nto places.\\nj. With No. I as leader the front line\\nfaces the right, marches back of No. 6, in\\nfront of No. 4, back of No. 2, and returns to\\nplaces.\\nDrop bonnet strings and begin the clos-\\ning march. Nos. i, 3, and 5 pass to right\\ncorner of stage and up the right side Nos.", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0092.jp2"}, "93": {"fulltext": "SUNFLOWER MARCH AND DRILL 89\\n2, 4, and 6 pass to left corner and up left\\nside; both lines then face the center of\\nstage, and advance in two lines, three\\nabreast. On meeting at center of stage\\nmarch backward to places at sides, then\\nadvance again toward center, and on meet-\\ning the lines pass each other, No. i going\\nto left of No. 2, No. 3 going between Nos.\\n2 and 4, No. 5 between Nos. 4 and 6,\\nthose from the right going to left side of\\nstage, and vice versa. On reaching sides of\\nstage face the back, march to comers of\\nback, and meet in couples at the C. March\\ndown to front in couples, where Nos. i, 3,\\nand 5 turn to the left, Nos. 2, 4, and 6 to\\nthe right, and march as per illustration on\\nnext page.", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0093.jp2"}, "94": {"fulltext": "90\\nPRACTICAL DIALOGUES\\n-1\\nr\u00e2\u0080\u0094\\n-1\\ni\\n1\\ni\\n1\\ni\\nj\\ni\\n1\\ni\\nJ\\nJ\\ni\\n1\\n1\\n1\\n1\\n1\\ni\\nJ\\ni\\ni\\ni\\nj\\n1\\nI L\\ni J\\n1\\n1\\n1\\ni\\n1\\n1\\n1\\n1\\nt\\n1\\nj\\ni\\ni\\n1\\ni\\ni\\nj\\nu...\\n-R\\nO\\nL.-,.\\nJ\\n-r\\nOn reacliing tlie left corner of back of\\nstage, Nos. i, 3, 5, exeunt, .while Nos. 2, 4,\\n6, marcli off at tlie right corner.", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0094.jp2"}, "95": {"fulltext": "BO-PBEP AND BOY-BLUB MARCH\\nCharacters Six girls representing Bo-Peep and six boys\\nrepresenting Boy-Blue.\\nCostumes Girls wear blue dresses, white aprons, large\\nhats, and each carries a shepherd s crook boys wear blue\\ntrousers and short blue jackets, white waists and small blue\\ncaps. Each carries a tin horn.\\nMusic Any March.\\nThe first girl enters alone, marches\\naround the stage, looking on all sides as if\\nto find her sheep, then drops on the floor at\\nback of stage, and goes to sleep. The sec-\\nond girl then enters and does the same,\\nfollowed by the third girl, and so on until\\nall are in line across back of stage, fast\\nasleep. The first boy then enters, and pass-\\ning to front of stage, blows a loud blast on\\nhis horn, whereupon the second boy enters,\\ntakes his place beside No. i, and blows his\\nhorn to call in No. 3. In this manner the\\nsix boys form in line at the front of stage.\\nWhen all are in place, the first three boys\\nface the left, the last three the right, and\\nmarch thus\\n91", "height": "2704", "width": "1708", "jp2-path": "practicaldialogu00iris_0095.jp2"}, "96": {"fulltext": "92 PRACTICAL DIALOGUES\\n0...^...^..\\nt\u00c2\u00bb Ui-..\\nr t\\nAs the lines start to marcli, No. i blows\\nhis horn and No. 6 answers it; as they\\nmeet at center of stage, they do the same.\\nAt the back of stage boys form in line\\nback of the girls who lie there asleep.\\nNo. I (speaking)\\nLittle Bo-Peep has lost her sheep,\\nAnd don t know where to find them.\\nThe other boys (in concert)\\nIf she leaves them alone, they 11 all come\\nhome,\\nWagging their tails behind them.", "height": "2752", "width": "1764", "jp2-path": "practicaldialogu00iris_0096.jp2"}, "97": {"fulltext": "BO-PEEP AND BOY-BLUE MARCH 93\\nNo. I\\nLittle Bo-Peep lias gone to sleep,\\nAnd thinks slie hears them bleating.\\nThe others:\\nWe re sorry to state it s all a fake,\\nOnly a dream so fleeting.\\nNo. i:\\nShe must take up her pretty crook,\\nAnd sally forth to find them.\\nThe others\\nFor they re having a picnic by the brook.\\nWagging their tails behind them.\\nThe boys then blow their horns in con-\\ncert, a short blast and then a long one, and\\nthe girls sit up quickly, rub their eyes, and\\nrise. The two nearest the center march\\nhalfway to front of stage, halt, face each\\nother, and raising their crooks have them\\nmeet in a A the next two do the same,\\nstanding beside the others the last two\\nfollow, and when the six girls are in line, the\\nboys, Nos. I, 2, 3, going first and Nos. 4, 5,\\n6, following, march in single file down the", "height": "2704", "width": "1628", "jp2-path": "practicaldialogu00iris_0097.jp2"}, "98": {"fulltext": "94 PRACTICAL DIALOGUES.\\ncenter of stage, passing nnder the upraised\\ncrooks. On reaching the front of stage the\\nline turns to the right, passes up the right\\nside, faces left of stage, and halts. The\\ngirls, still keeping the crooks raised, march\\nin couples to front of stage and turn to\\nthe left. At the left corner the girl on the\\ninside steps back of her partner, thus form-\\ning a single file, which passes up left side,\\nfaces the right, and halts.\\nNo. I then blows his horn, he and the\\ngirl opposite him advance to the center,\\nbow, and march together toward the front,\\nwhere they turn to the right. As soon as\\nNo. I starts to march, No. 2 blows his horn,\\nand he and the girl opposite him advance to\\ncenter, and follow the first couple. Bach\\nboy in turn does the same, each blowing\\nhis horn as soon as the boy on his left\\nstarts to march. At the right corner of\\nback each boy steps behind the girl with\\nwhom he is marching, and takes his place\\non the other side of her. At the left corner\\nof back they again change sides, the girls\\nstepping in front of the boys. The lines\\nmarch thus twice around the stage, alter-", "height": "2752", "width": "1704", "jp2-path": "practicaldialogu00iris_0098.jp2"}, "99": {"fulltext": "BO-PEEP AND BOY-BLUE MARCH\\n95\\nnating on every comer. Then, from tHe\\ncenter of back they march to center of\\nfront in couples, where the boys turn to\\nright, the girls to left, pass up the sides of\\nstage, and from the corners of back march\\nin diagonal lines to center of stage, where\\nthey form a wheel, and rotate four times, as\\nfollows\\nX w\\nrp^,\\\\\\nU^-^d^J\\n(Sr -0\\nP~ -R o /A T\\nAfter rotating, the boys march in single\\nfile to left comer (front), up left side, across\\nthe back, where they drop to the floor and\\nsimulate sleep. The girls pass to right cor-", "height": "2712", "width": "1652", "jp2-path": "practicaldialogu00iris_0099.jp2"}, "100": {"fulltext": "96 PRACTICAL DIALOGUES.\\nner (front), and form in line across front of\\nstage, wliere they give tlie following drill\\nNo. I. Holding the crook in riglit hand,\\nextend the arm straight up from shoulder\\n(the bottom of crook pointing up), then step\\nforward on right foot, and move crook until\\nit is held at arm s length obliquely in front\\nof body, and lastly drop arm at side so that\\ncrook rests on the floor. Repeat three times.\\n[Each position takes one measure of music,\\nthe crook being moved on the first beat, and\\nheld in position the other three.]\\nNo. 2. Same with crook in left hand.\\nNo. 3. Grasping the crook at each end,\\nhold it horizontally at arm s length above the\\nhead lower until just below the chin (still\\nheld horizontally) lower till even with\\nwaist line. Repeat three times.\\nNo. 4. Hold crook as in No. 3, then lower\\nit back of the head until on line with the\\nshoulders. Repeat three times.\\nNo. 5. Face the right, raise crook in\\nright hand, and hold it in an oblique line\\nfrom the shoulder; face front, and hold\\ncrook as in right face; face the left. Re-\\npeat three times.", "height": "2752", "width": "1700", "jp2-path": "practicaldialogu00iris_0100.jp2"}, "101": {"fulltext": "BO-PEEP AND BOY-BLUE MARCH 97\\nNo. 6. Rest crooks horizontally across\\nthe right shoulder, the lower end pointed to\\nthe back. Hold during three measures.\\nNo. 7. The first three girls hold their\\ncrooks to form a A, the second girl hold-\\ning hers horizontally just below her chin,\\nthe other two raising theirs obliquely. The\\nother three girls form a second A in the\\nsame manner. Hold during three meas-\\nures.\\nNo. 8. Same as No. 7, except that girls\\nkneel.\\nNo. 9. Each lot of three holds crooks\\nto form a group, and keeps them in position\\nduring three measures.\\nNo. 10. Form a circle, raise crooks ob-\\nliquely, and hold them so that the upraised\\nends all meet at the central point above the\\ncircle. Rotate twice.\\nThe girls then march up the side of stage,\\nand form a straight line across the back,\\njust behind the boys who lie there, asleep.\\nI St Girl (speaks):\\nLittle Boy-Blue is fast asleep.\\nForgotten now is his signal horn", "height": "2704", "width": "1652", "jp2-path": "practicaldialogu00iris_0101.jp2"}, "102": {"fulltext": "98 PRACTICAL DIALOGUKS\\nThe other girls (in concert):\\nWhile all unwatched the eager cows\\nAre feasting on the golden com.\\nist Girl\\nLittle Boy-Blue, come blow your horn\\nWake from your slumbers soft and deep.\\nThe others\\nHasten to save the ripening corn\\nDrive from the meadows the wand ring\\nsheep.\\nThe first girl gives three loud, quick raps\\nwith her crook, which are answered by three\\nsimilar ones by the last girl in the line.\\nBach girl thereupon gives the boy in front\\nof her a sharp punch with her crook. The\\nboys wake up quickly, rub their eyes, then\\nthe first boy gives a loud toot, which is\\nanswered by the other five in concert, and\\nall rise. The girls face the left of stage,\\nthe boys the right; the first boy blows a\\nblast, which is answered by toots from the\\nother boys and three sharp, quick raps with\\ntheir crooks by the girls. They then start", "height": "2752", "width": "1708", "jp2-path": "practicaldialogu00iris_0102.jp2"}, "103": {"fulltext": "BO-PKBP AND BOY-BLUB MARCH 99\\nto marcH, the boys going down right side\\nof stage, the girls down the left. On\\nreaching the center of sides, the lines march\\nto the center of the stage, form couples,\\npass to front where the lines cross, and the\\ngirls march to the right while the boys go\\nto the left. March up sides to center, then\\nturn and pass to center of stage, form\\ncouples, and proceed to the back of stage,\\nthen to right comer, where they exeunt.\\nAs each couple leaves the stage, the boy\\nblows his horn.\\n^\u00c2\u00bbQ,", "height": "2704", "width": "1660", "jp2-path": "practicaldialogu00iris_0103.jp2"}, "104": {"fulltext": "BUTTERFLY DRILL\\nFOR BIGHT LITTLE GIRLS\\nCostumes Two girls wear white gowns; two pale yel-\\nlow; two orange with black spots; and two brown with gilt\\nspots, white ruflfle around the neck and band of white\\naround bottom of skirt. The gowns should be made of\\ncheese cloth, cut Mother Hubbard, and be very full, having\\nat least nine widths (of the narrow cheese cloth) in the\\nskirt. Have a turn-back ruffle four inches wide around\\nneck; the sleeves should be a full puflf reaching to the\\nelbow. Gowns should be short reaching only to the\\nknees. Each girl wears a butterfly bow in her hair, and\\nhas wings (of cheese cloth the color of her gown and\\nedged with wire to stiffen them) which stand about three\\ninches higher than the shoulders.\\nMusic A bright, lively Marcli.\\nGirls enter in single file and skip twice\\naround stage, holding skirts slightly raised\\nwith the right hand then form in line at\\nback of stage thus\\n87654321\\nxxxxxxxx\\nNos. I and 8 start at the same time, No.\\nI going back of 2, front of 3, and back of 4\\nNo. 8 going back of 7, front of 6, and back\\nof 5 they meet and march together between", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0104.jp2"}, "105": {"fulltext": "BUTTERFLY DRILL lOI\\nNos. 4 and 5. No. 7 follows No. 8 No 6.\\nfollows 7, and No. 5 follows 6. No. 2 fol-\\nlows No. I No. 3 follows 2, and No. 4 fol-\\nlows 3. Nos. I and 8 lead tlie line (the\\nothers following in couples as they meet at\\ncenter between Nos. 4 and 5) down the stage\\nto center of front where Nos. i, 2, 3, 4, turn\\nto the left and Nos. 5, 6, 7, 8 to the right.\\nMarch to right and left corners of stage, up\\nthe sides, and meet at center of back, where\\nthe lines cross those on the left stepping\\nahead of those on the right as the couples\\nmeet. March in couples to front of stage,\\nthen turn to right, pass to right corner, up\\nright side, across back, down left side and\\nto center of front but as they thus make\\nthe circuit of the stage, Nos. 8, 7, 6, 5, stop\\nin places, as shown in following diagram,\\nwhile Nos. i, 2, 3, 4, march on in single\\nfile:", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0105.jp2"}, "106": {"fulltext": "I02 PRACTlCAIv DIALOGUES\\nWhen all are in place (No. i being the\\nlast to reach her position), Nos. 4 and 5\\nadvance to the center and back to their\\nplaces (skipping to the music, and holding\\nskirts out at side in right hands), thus\\nAs Nos. 4 and 5 return to places, Nos. 2\\nand 7 advance and return the same way\\nthen Nos. 3 and 6 lastly Nos. i and 8.\\nThen all eight advance to center, form a cir-\\ncle, skip once around the circle and back to\\nplaces advance again to center, and as they\\nform a circle, Nos. i and 8 change places,", "height": "2752", "width": "1704", "jp2-path": "practicaldialogu00iris_0106.jp2"}, "107": {"fulltext": "BUTTERFLY DRILL I03\\nalso Nos. 6 and 7, so that all stand tlius:\\nWith 4 and 5 as leaders, all march", "height": "2696", "width": "1644", "jp2-path": "practicaldialogu00iris_0107.jp2"}, "108": {"fulltext": "I04 PRACTICAL DIALOGUES\\nWhen all have reached places in the line\\nacross the stage, the girls join hands (rais-\\ning them above heads), and march to the\\nfront, eight abreast. Standing in line at\\nfront, they now pose as follows\\nI. Face the right, raise the dress in right\\nhand, extend the arm ont in front, and hold\\nthe hand jnst back of, and even with the top\\nof, the head of the girl ahead.\\n2. Drop the right hand, raise the dress\\nwith the left hand, extend arm in front, and\\nhold hand just below the face of the girl\\nahead.\\n3. Face the front, move back into a A\\nso there will be sufficient room, grasp the\\nskirt with both hands (taking hold well\\ntoward the back), and raise the arms above\\nheads, all joining hands. Then come back\\ninto line at front.\\n4. Same as No. i, except that they face\\nthe left and raise dress in left hand.\\n5. Same as No. 2, except that the dress\\nis raised in the right hand.\\n6. Face the right. Kneel. Raise the\\ndress as in No. i.\\n7. Raise dress as in No. 2.", "height": "2760", "width": "1704", "jp2-path": "practicaldialogu00iris_0108.jp2"}, "109": {"fulltext": "BUTTERFLY DRILL I05\\n8. Face tlie front (still kneeling), raise\\ndress in both hands (extending arms above\\nthe head), and all join hands. In this the\\ngirls remain close together, not spreading\\napart as in No. 3.\\n9. Face the left, and raise dress as in\\nNo. 4.\\n10.^ Raise dress as in No. 5.\\nII. Face the front. Rise. Curve the\\nright arm over the top of the head, raise the\\nskirt in the left hand until it meets the right\\nhand, then grasp the skirt with the right\\nhand (where it was held by the left), and\\ndrop the left hand at side.\\n12. Stand thus\\n3456\\nX X X X\\nXXX\\nX\\nNos. 3, 4, 5, and 6 raise dresses in both\\nhands (taking hold near the back), and then\\nhave hands meet above the head. No. i\\nstands between Nos. 2 and 7, who join hands\\nabove her head (raising skirts with the\\nhands that meet).", "height": "2712", "width": "1644", "jp2-path": "practicaldialogu00iris_0109.jp2"}, "110": {"fulltext": "Io6 PRACTICAL DIALOGUES\\nNo. 8 kneels in front of No. i, and raises\\nher skirt at sides with eacli hand. No. i\\nraises her skirt with each hand, and then\\nclasps her hands above the head of No. 8.\\n13. Form a V, thus:\\n4 X 5 X\\n3 X 6 X\\n2 X 7 X\\n8 X\\nI X\\nNo. 8 kneels and holds her skirts as in\\nNo. 12.\\nNo. I holds her skirts out at each side.\\nNos. 5, 6, 7, raise their skirts in left hand,\\nholding them high. Nos. 2, 3, 4, raise\\nskirts in right hand.\\n14. Stand in straight line down the cen-\\nter of stage, No. 5 at back and No. 8 at\\nfront. Raise skirt in both hands, and then\\nwave it back and forth, keeping time to the\\nmusic.\\n15. Stand as in No. 14, and face back in-\\nstead of front of stage. Move skirts back\\nand forth as in No. 14.\\nThey now begin to March, Nos. i, 2, 3,\\n4, turning to the left, and Nos. 5, 6, 7, 8, to", "height": "2752", "width": "1704", "jp2-path": "practicaldialogu00iris_0110.jp2"}, "111": {"fulltext": "BUTTERFLY DRILL I07\\nthe right of stage (each girl marching up\\nto center of back before she turns), and con-\\ntinue as follows:\\nOn reaching the back of stage, they form\\na line, and march eight abreast to the cen-\\nter of stage, where they stop.\\nAll recite in concert:\\nEight little butterflies\\nLooking up to heaven\\nOne runs away and hides,\\nThen there are seven.", "height": "2704", "width": "1640", "jp2-path": "practicaldialogu00iris_0111.jp2"}, "112": {"fulltext": "Io8 PRACTICAL BIALOGUKS\\nGrasping the skirt, the right hand is\\nraised above the head, and the face turned\\nupward. At the word One, No. 5 starts\\nand skips from stage. Those left recite\\nSeven little butterflies\\nPlaying foolish tricks\\nOne runs to find her mate,\\nThen there are six.\\nRaising the skirt with the left hand, the\\nright hand is waved at audience. At the\\nword One, No. 4 skips from stage. Then\\nrest recite\\nSix little butterflies\\nWish they were n t alive\\nOne goes to drown herself.\\nThen there are five.\\nThey lean heads on right hands, and\\nlook sorrowful. At the word One, No. 6\\nskips from stage. The others then recite\\nFive little butterflies\\nWish that there were more\\nOne goes to call their friends,\\nThen there are four.", "height": "2756", "width": "1704", "jp2-path": "practicaldialogu00iris_0112.jp2"}, "113": {"fulltext": "BUTTERFLY DRILL 109\\nThey nod heads and make gestures as if\\ntalking. At the word One, No. 3 skips\\nfrom stage. The four girls who have now\\nleft the stage stand at one side and recite\\nFour little butterflies,\\nProud as they can be\\nOne falls down and breaks her crown\\nThen there are three.\\nThey march around in a small circle,\\nwalking with mincing steps, tossing their\\nheads and swinging skirts. At the word\\nFalls, No. 7 falls down, and remains lying\\nthere. The others return to their places.\\nThe four girls at side of stage recite\\nThree little butterflies\\nLove each other true\\nOne gets cross and will not play,\\nThen there are two.\\nThe three girls put their arms around\\neach other, and tip their heads together.\\nAt the word One. No. 2 puts her arm up\\nover her face, and skips from stage. The\\nother two keep their arms around each\\nother. The four girls recite", "height": "2704", "width": "1648", "jp2-path": "practicaldialogu00iris_0113.jp2"}, "114": {"fulltext": "no PRACTICAL DIALOGUES\\nTwo little butterflies\\nDancing in tlie sun\\nOne gets tired and flies away,\\nThen there is one.\\nThe two girls join hands and dance at\\nthe word One, No. 8 skips from stage,\\nwaving arms up and down at sides to imi-\\ntate flying. Those at side of stage recite\\nOne little butterfly\\nCan t have any fun\\nA naughty boy catches her,\\nThen there are none.\\nAt the word A, a tall boy in knee\\ntrousers, blouse waist, and large straw hat,\\ncomes on to stage, chases No. i several\\ntimes around the platform, then catches her\\nand carries her from the stage.\\nCurtain.", "height": "2752", "width": "1704", "jp2-path": "practicaldialogu00iris_0114.jp2"}, "115": {"fulltext": "THE TEA-PARTY\\n[A scenic reading, to be acted by nine\\nlittle girls as tbe poem is read by tbe teaclier\\nor one of the pupils. One girl is dressed\\nas a maid, wearing cap and apron. The\\nseven visitors wear jackets, long skirts, and\\nbonnets, keeping their wraps on during the\\nparty. Mrs. Brown and each visitor has a\\ndolly. At back of stage have a tiny table\\nand tea set. Mrs. B. pours the tea, and\\nKatie passes a cup to each guest, then\\npasses a plate of cake, cut in tiny pieces.\\nHave a march played softly, and in all their\\nmovements the girls keep time to the music.\\nMrs. Brown and Katie on stage as poem\\nbegins.]\\n1. Once Mrs. Brown decided that\\nShe d ask her friends in for a chat,\\nTo talk up fashion s last decree.\\nAnd have a cheering cup of tea.\\n2. Just at five by the tall town clock.\\nThere came a gentle little knock,", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0115.jp2"}, "116": {"fulltext": "112 PRACTICAL DIALOGUES\\nAnd Katie showed in Mrs. Gray,\\nAnd Mrs. Jones from o er tlie way.\\n3. Then Mrs. Arabella White,\\nWho said teas were her chief delight,\\nAnd Mrs. Jennie Vere de Vere,\\nQnite shortly after did appear.\\n4. Scarce had they each been showed a\\nchair,\\nWhen Madams Smith and Green were\\nthere\\nAnd then, as she was sure to do.\\nThe last of all came Mrs. Drew.\\n5. As Mrs. Brown thought children ought\\nTo go to teas and there be taught\\nJust how to act and what to say.\\nAnd be brought up the proper way,\\n6. Kach mamma brought her darling fair\\nAnd when all guests at last were there,\\nThe hostess with a beaming face\\nBeside the teacups took her place.\\n7. Then merrily all tongues did fly.\\nAs each guest anxiously did try\\nTo give the choicest bit of news,\\nOr latest style in dress or shoes.", "height": "2760", "width": "1704", "jp2-path": "practicaldialogu00iris_0116.jp2"}, "117": {"fulltext": "THE TEA-PARTY II3\\n8. THey talked of science and of arts,\\nOf wedding bells and broken hearts,\\nOf what had passed and what would be\\nThe while they sipped their fragrant\\ntea.\\n9. They said the cake was very good.\\nAnd praised it as of course they should\\nThey talked about their homes and\\nwork,\\nAnd how their hired girls liked to\\nshirk.\\n10. Then Mrs. Jones told with great zeal\\nHow her last hired girl would steal,\\nAnd how at length she ran away\\nTo wed the grocer s clerk one day.\\n11. They talked about their children fair,\\nWhat they should eat and what should\\nwear.\\nAnd of how scared the Drews had been\\nWhen Nellie swallowed that brass pin.\\n12. But all good times must end, you know.\\nAnd soon the ladies had to go\\nWhile all did heartily agree\\nThey ne er had known a nicer tea.\\ns", "height": "2704", "width": "1608", "jp2-path": "practicaldialogu00iris_0117.jp2"}, "118": {"fulltext": "114\\nPRACTICAL DIALOGUES\\nDuring the reading the girls sit in chairs\\narranged four on each side of a table on\\nback of stage in slightly circular form.\\nNo. I represents Mrs. Brown the others\\nthe guests as they arrive. As the reading\\nis finished, the girls, each carrying her dolly\\non the left arm, march as follows\\nT A L C\\nR O H T", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0118.jp2"}, "119": {"fulltext": "THE TEA-PARTY\\n115\\nNos. 2, 3,4, follow No. I as leader Nos.\\n6, 7, 8, follow No. 5 as leader. As Nos. i\\nand 5 meet at table after forming the two I^s\\nmarcli down the center (each girl on the\\nright line stepping ahead of corresponding\\ngirl on left), in single file. At front of\\nstage, Nos. i, 2, 3, 4, turn to the right, Nos.\\n5, 6, 7, 8, to the left, and form a line thus\\n12348765\\nxxxxxxxx\\nThey now sing the following song (march\\nchanges to air of the song), the seven guests\\nsinging the first four lines of the first\\nstanza, and Mrs. Brown the last four. The\\nother stanzas all sing together.\\n-I\\nmr^^ ^i J- ;#-^-?-rT^^\\ns*\\nj/^-^gg c ri^ -^^i ^j\\nff ff r f g g r IJ^^j^ ,r^ h^\\n$Vir/C C g M-^TTTT^^", "height": "2700", "width": "1632", "jp2-path": "practicaldialogu00iris_0119.jp2"}, "120": {"fulltext": "Il6 PRACTICAL DIALOGUES\\n1. It was a very pleasant tea,\\nYes, just as nice as it could be\\nAnd to our hostess we would say,\\nWe ve liad a lovely time to-day.\\n[Mrs. Brown.]\\nThank you. kind friends, for what you\\nsay,\\nAnd you must come again, I pray\\nBut don t forget the children dear,\\nI always love to have them here.\\n2. Our darling pets are very fair,\\n[Hold dolls out at arm s length in front\\nof bodies.]\\nWith laughing eyes and bonny hair\\nBut better still they re very good,\\nBehaving just as nice girls should.\\n[Pat dolls lovingly.]\\nSo when we take them out to tea.\\nThey never make us shamed, you see\\nBut sit as still as little mice\\nOh, yes, our pets are very nice\\n3. But now their eyelids downward creep,\\n[Rock dolls in arms.]", "height": "2756", "width": "1704", "jp2-path": "practicaldialogu00iris_0120.jp2"}, "121": {"fulltext": "THK TEA-PARTY II7\\nOur darlings soon will be asleep\\nIn slumber town neatb dreamland tree,\\nOur precious babies soon will be,\\nSo now farewell jwe all must say.\\nQuickly we each must hasten way\\n[Singing softly.]\\nAh, yes, indeed, they re all asleep,\\n[Shake fingers at audience.]\\nAnd very quiet we must keep.\\nMusic changes to a march, Mrs. B. takes\\nher place in the center of stage, and the\\nothers march past her, shaking her hand\\nand bowing as they pass her. The guests\\nleave stage at one side, and Mrs. B. at the\\nopposite side. In marching off the dolls\\nare carried on the left arm.", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0121.jp2"}, "122": {"fulltext": "LUCK AT LAST\\nA SHADOW PANTOMIME\\nTo be acted behind a curtain as tbe poem\\nis read. Tbe curtain sbould be of thin,\\nwhite muslin, tightly stretched and tacked\\nto the floor at the bottom to keep it from\\nmoving. Characters must keep close to the\\ncurtain, and present a profile view. Have\\nno light in front of curtain, and a strong\\none at the center of back of stage.\\nSCENE I.\\n[Mr. and Mrs. Jones and Bessie sitting in\\nline; Mrs. J. knitting, Bessie sewing, and\\nMr. J. reading. Mr. and Mrs. J. dressed\\nto represent old people.]\\nI. The room was cheerful and cozy,\\nA blazing fire burned warm and\\nbright,\\nAs Bessie Jones sat in their home,\\nWith her father and mother one\\nnight.\\nii8", "height": "2724", "width": "1768", "jp2-path": "practicaldialogu00iris_0122.jp2"}, "123": {"fulltext": "LUCK AT LAST II9\\n2. Bess was tlie pride of her parents,\\nAnd they watched her with jealous\\neye;\\nYoung men found no chance to woo her,\\nNo matter how hard they might try.\\n3. So when at the door came a knock,\\nBessie s father began to frown.\\nAnd when Pete Jefferson entered\\nQuite coldly they bade him sit down.\\n[Peter takes a chair next to Mr. J., while\\nBess sits between her father and mother.]\\n4. Then drew his chair closer to Bess,\\nAs if to shield her from harm.\\nAnd began to talk to Pete\\nOf his stock, his crops, and his farm.\\n5. Soon as the father ceased talking,\\nThe mother began on the weather.\\nAnd for nigh on to half an hour.\\nShe and Pete discussed it together.\\n6. The clock struck eight, nine, and ten.\\nBut Pete was no faint-hearted beau\\nHe stayed till the old folks began\\nTo impatiently wish he would go.", "height": "2704", "width": "1628", "jp2-path": "practicaldialogu00iris_0123.jp2"}, "124": {"fulltext": "I20 PRACTICAL DIALOGUES\\n7. At last the old man grew sleepy,\\nTlien commenced to dream and to\\nsnore,\\nWhile the mother tried to keep watch\\nAnd longingly looked at the door.\\n8. At length her tired eyes had to close\\nShe nodded and went fast asleep,\\nUnmindful of danger to Bess,\\nForgetting the watch she should\\nkeep.\\n9. When Pete found the coast to be clear.\\nQuite softly he picked up his chair,\\nAnd slipping it over by Bessie,\\nContentedly sat himself there.\\n[He moves his chair in front of the father,\\nsits by Bess, and takes her hand.]\\n10. Of the weather, the crops, or the farm,\\nNot a word had either to say,\\nBut talked of the raptures of love.\\nIn a dreadfully plain-spoken way.\\n11. Their thoughts soared blissfully off\\nTo some love enchanted sphere,\\nAnd spooning they ceased to be wise.\\nForgetting that danger was near.", "height": "2760", "width": "1772", "jp2-path": "practicaldialogu00iris_0124.jp2"}, "125": {"fulltext": "LUCK AT LAST 121\\n12. The motlier awoke witli a start^\\nLooked about in greatest surprise,\\nThen with horror beheld the scene,\\nAnd could scarcely believe her eyes.\\n13. She saw the long stove-poker near,\\nAnd snatching it up at once.\\nShe softly reached across\\nAnd gave her husband a punch.\\n14. He, too, awoke with a start.\\nQuickly wond ring what it could\\nmean.\\nThen glancing at Peter and Bess,\\nHe took in the terrible scene.\\n15. Giving a loud howl of rage, he\\nExcitedly leaped from his chair.\\nAnd making a quick dive for Pete\\nHe fastened both hands in his hair.\\n[Shakes Peter.]\\n16. Poor Bessie got down on her knees,\\nAnd begged her father to stop.\\nBut he pushed her back in her chair.\\nAnd fiercely declared he would not.", "height": "2704", "width": "1636", "jp2-path": "practicaldialogu00iris_0125.jp2"}, "126": {"fulltext": "122 PRACTICAL DIALOGUES\\n17. Then quickly lie kicked Peter out,\\nAnd tossed his hat out of the door,\\nWhile Bessie wept in despair,\\nAnd sank with a moan to the floor.\\nCurtain.\\nSCENE II.\\n[Peter alone on the stage.]\\n1. Underneath the leafy branches\\nOf an oak one moonlight night,\\nPeter watched with lonely patience\\nTill Miss Bessie came in sight.\\n2. There they held a secret meeting.\\nVowing vows as lovers do,\\nPledging love to last forever,\\nSwearing to be always true.\\n3. Peter said, in saddest accents,\\nDarling, I must go away\\nYour parents ne er will let us wed\\nUntil I come back rich some day.\\n4. So I m going off to Klondike,\\nWhere, although it s drear and cold.\\nMen can quickly make a fortune\\nDigging out the shining gold.", "height": "2756", "width": "1676", "jp2-path": "practicaldialogu00iris_0126.jp2"}, "127": {"fulltext": "LUCK AT LAST 1 23\\n5. Bessie, as she wept in anguish,\\nSaid she would wait and e er be true,\\nVowing by the stars above her\\nAs a maid is apt to do.\\n6. Then they said a fond farewell,\\nNeath the moon s pale rays of light,\\nAnd with ardent, longing glances\\nWatched each other out of sight.\\n[One walks backward in each direction,\\nthrowing kisses until out of sight.]\\nCurtain.\\nSCENE III.\\n[Peter, dressed as a miner, on stage with\\npickax.]\\n1. Far, far away in the Klondike,\\nWhere frozen and hard is the\\nground\\nMid mountains of snow and ice,\\nTis now that our brave Pete is\\nfound.\\n2. Tis true that he looks rather rough.\\nAnd his whiskers are dreadfully\\nlong.", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0127.jp2"}, "128": {"fulltext": "124 PRACTICAL DIALOGUES\\nBut his size is quite largely due\\nTo the number of coats lie has on.\\n3. As he pounds away one cold day,\\nWith mercury forty below,\\nHe hopes that he may strike it rich.\\nAnd wonders how soon he 11 do so.\\n4. As his blows cause the frozen earth\\nTo crumble and fall apart,\\nPete suddenly sees something there\\nThat gives him a terrible start.\\n5. He quickly examines the ground,\\nThen digs away as before.\\nBut presently pauses again\\nTo examine the rock and ore.\\n6. He gets so excited and warm,\\nHe hastily pulls off a coat,\\nAnd after a few more blows,\\nJerks the big scarf from off his\\nthroat.\\n7. Whack whack fall his blows thick\\nand fast.\\nThere, another nugget is found\\nAnd growing the yet more enthused\\nAnother coat goes to the ground.", "height": "2752", "width": "1768", "jp2-path": "practicaldialogu00iris_0128.jp2"}, "129": {"fulltext": "LUCK AT LAST 1 25\\n8. Then kneeling upon the ground,\\nHe murmurs, I ve struck it, I\\nguess\\nI m surely a rich man at last,\\nAnd I m going home to find Bess.\\nCurtain.\\nSCKNB IV.\\n[Mr. and Mrs. Jones and Bessie as in first\\nscene.]\\n1. As Bessie sat sadly one night,\\nThinking of Pete o er and o er.\\nWhile it seemed that her heart would\\nbreak.\\nThere came a loud knock at the\\ndoor.\\n2. Then in rushed a gallant young man.\\nDragging in each hand a sack.\\nAnd dashing them on to the floor,\\nHe cried, Now what think you of\\nthat?\\n[Peter is followed by the minister with\\nhis book and a servant with the wedding\\ncake.]", "height": "2712", "width": "1628", "jp2-path": "practicaldialogu00iris_0129.jp2"}, "130": {"fulltext": "126 PRACTICAL DIALOGUES\\n3. Happy Bessie gave one low cry,\\nAnd into her lover s arms flew\\nWhile the old folks looked at the gold,\\nToo pleased to know what to do.\\n4. I ve brought the parson along,\\nCried Pete, so there s no need to\\nwait;\\nAs soon as we get the knot tied,\\nWe ll eat up this great wedding\\ncake.\\n5. Without any further delay\\nThe wedding began then and there,\\nAnd the parson proceeded at once\\nTo tie up the happy young pair.\\n[They form in line, Peter holding Bes-\\nsie s hand, the father and mother on the\\nright, each holding a bag of gold the min-\\nister is next to Bessie, and back of him the\\nservant with the cake.]\\nCurtain.", "height": "2760", "width": "1680", "jp2-path": "practicaldialogu00iris_0130.jp2"}, "131": {"fulltext": "THE MEETING OF THE GHOSTS\\nCharacters Mrs. Page, Uncle Thomas, Raymond and\\nJacob, Belle and her Cousin Frances.\\nScene takes place in the sitting-room of\\nthe Page family. At the back of the room\\nis a couch and at one side a stand with a\\nlighted lamp. (If the dialogue is given in\\nthe afternoon, the room can be darkened by\\nhanging shawls at the windows.) Belle\\nand Frances on stage.\\nBelle. Frances, don t you just delight\\nin ghosts I read every ghost story I can\\nfind. How I wish I could see a real, live\\nghost\\nFrances. So do I it would be so inter-\\nesting but do you really believe there are\\nghosts\\nBelle. Oh, no, of course not, but I wish\\nthere were. I m sure ^I should not be\\nafraid to meet one. [Enter Mrs. Page.]\\nMrs. Page. Belle, I m going over to\\nMrs. Wright s to spend the evening. You\\n127", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0131.jp2"}, "132": {"fulltext": "125 PRACTICAL DIALOGUES\\ngirls won t be afraid will you The boys\\nwill be borne soon.\\nBelle. Oh, no, mamma, not at all.\\n[Exit Mrs. Page.]\\nFrances. What would you do, Belle, if\\nyou should meet a ghost\\nBelle. Well, I would n t run. I d see\\nwhether I could find out who it used to be,\\nand where it came from.\\nFrances. I d try to catch hold of it and\\nsee if there was flesh on its bones. Would n t\\nit be fun\\nBelle. Yes. Oh, here comes Raymond\\nand Jacob. [Bnter the boys.]\\nRay. What are you girls doing?\\nFrances. Talking about ghosts.\\nJacob (laughing). Telling him how\\nbrave you would be if you met one, I sup-\\npose. Girls usually think ghosts are nice\\nuntil they see one.\\nBelle. Pshaw I m not a bit afraid of\\nthem.\\nFrances. Nor I. If I saw one I d make\\nfriends with it.\\nRay. You would run for dear life.\\nFrances. 1 would not.", "height": "2752", "width": "1704", "jp2-path": "practicaldialogu00iris_0132.jp2"}, "133": {"fulltext": "THK MEETING OE THE GHOSTS 1 29\\nBelle. I wish Frances and I could show\\nyou how brave we would be if ghosts came.\\nJacob. Come on, Ray, let s go. These\\ngirls are so brave they make me blush. Of\\ncourse you and I wouldn t be afraid of\\nghosts men never are but these girls\\nFrances. We wouldn t be any more\\nafraid than you.\\nRay. That s too much to believe.\\n[Exeunt Ray and Jacob.]\\nFrances. Those boys make me tired\\nthey think they re so brave. They d be\\nscared to death at a ghost.\\nBelle. I wish we could scare them once.\\nFrances. Oh, Belle, let s dress up as\\nghosts and try it.\\nBelle (jumping up). Just the thing!\\n^ome on this minute and fix up. [They\\nm out of room. A moment later the boys\\n-enter.]\\nJacob. Well, where have the girls\\ngone?\\nRay. After something to eat I suppose\\nthey re usually eating when they re not\\ncurling their hair.\\nJacob. Say, Ray, let s dress up as", "height": "2704", "width": "1632", "jp2-path": "practicaldialogu00iris_0133.jp2"}, "134": {"fulltext": "130 PRACTICAL DIALOGUES\\nghosts and scare the girls. I d like to hear\\nthem yell.\\nRay. The very thing It will be no end\\nof fun. Come on and get fixed up. [They\\nhurry off at opposite side of stage from\\nwhich the girls left. Soon after Uncle\\nThomas enters, carrying a satchel in one\\nhand and a rifle in the other.]\\nUncle T. Well, there doesn t seem to\\nbe anyone at home. Must be they didn t\\nget my letter saying I was coming to visit.\\nI don t know as it makes much difference.\\nI 11 just lie down here and take a nap till\\nthe folks get home. (Puts his hat on the\\nstand, pulls off his boots and throws them\\nin the comer, puts his satchel under the\\ncouch, and his rifle under the sofa pillow,\\nthen lies down.) I guess I 11 be safe long\\nas I have my rifle handy. Don t s pose\\nthere s ghosts here anyway. Plague on it,\\nI can t sleep with that light shining in my\\neyes. I 11 have to fix it. (Gets up and\\nturns the light down.) There, that s more\\nlike it. (Shuts his eyes and goes to sleep.\\nA moment later Raymond enters, arrayed\\nin a white sheet and a dough mask.)", "height": "2724", "width": "1756", "jp2-path": "practicaldialogu00iris_0134.jp2"}, "135": {"fulltext": "THB MEETING OF THE GHOSTS 131\\nRay (softly). Now I wonder where the\\ngirls are. Ah, I hear some one coming\\nI 11 go and get Jacob. If they don t come\\ndown here, we 11 have to hnnt them up.\\n[Exit Ray.]\\nBelle (entering). I d like to know where\\nthe boys are. I m sure I heard some one.\\nI 11 go get Frances and then if the boys\\ndon t come down, we 11 have to hunt them\\nup. I wonder if I m a good-looking\\nghost. (She also is arrayed in a white\\nsheet and dough mask.) Well, I must go.\\n[Exit Belle.]\\nUncle Thomas (sitting up). Er what s\\nthe matter? Thought I heard some one\\ntalking. Does n t seem to be anyone here,\\nthough, guess I was dreaming. Maybe\\nsome ghosts around, but I reckon I m safe\\nlong as I ve got that old rifle along. Won-\\nder if my pocketbook s safe (Feels in\\nhis pocket.) Yes, it s here. Guess I 11 go\\nto sleep again. (Lies down and goes to\\nsleep. Belle and Frances in their ghost\\ncostumes steal on to stage.)\\nBelle (softly). Now we 11 hide here and\\nwait for the boys.", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0135.jp2"}, "136": {"fulltext": "13a PRACTICAL DIALOGUES\\n[They croucli behind chairs; soon the\\nboys enter.]\\nJacob (in sepulchral tone). Ah, no one\\nin sight. We 11 [Belle and Frances\\njump up and scream, Oh, oh, help 1 and\\nfall into each other s arms.]\\nFrances. Oh, Belle, let s run\\nBelle. I m so frightened I can t.\\nRay (in surprise). Horrors Mercy\\nMore ghosts\\nFrances.\u00e2\u0080\u0094 Oh Oh Oh\\nJacob. Let s get out of this.\\nUncle T. (sitting up). Er what is the\\nmatter (Sees ghosts.) Hi Help Mur-\\nder! (Gets his rifle, stands up on couch,\\nand aims at the ghosts.) Don t you come\\nnear me or I ll shoot.\\nBelle and Frances.\u00e2\u0080\u0094 Oh, don t! Don t\\nshoot Oh, help\\nRay and Jacob. Mercy Help Don t\\nshoot Put that down.\\nUncle T. Don t you come near me\\nthis is loaded to kill.\\nGirls.\u00e2\u0080\u0094 Oh! Oh! Mercy!\\nBoys. Help Robbers\\n[Enter Mrs. Page.]", "height": "2724", "width": "1748", "jp2-path": "practicaldialogu00iris_0136.jp2"}, "137": {"fulltext": "THE MEETING OF THE GHOSTS 1 33\\nMrs. Page. What in tlie world is all this\\nnoise about? (Sees ghosts and what she\\nsupposes is a robber.) Oh, murder Help I\\nRobber Police (Rushes around the stage\\nin terror.)\\nBelle. Oh, mamma, get the police I\\nMrs. Page. Is that you, girls? What\\nare you doing?\\nJacob. And this is Ray and I, mamma.\\nDon t let him shoot.\\nUncle T. Is that you, Jane? Don t\\nyou know me I vow, this is a nice way to\\nbe treated.\\nMrs. Page. Why, bless me, if this is n t\\nThomas. You children go and take those\\nrigs off. (Exeunt ghosts.) I m delighted\\nto see you. (Shakes hands with Uncle T.)\\nI m sorry this happened, but I guess no one\\nis hurt. I hope those children had a good\\nscare.\\nCurtain.", "height": "2712", "width": "1680", "jp2-path": "practicaldialogu00iris_0137.jp2"}, "138": {"fulltext": "A SLIGHT MISTAKE\\nCharacters Aunt Jemima, an old maid Mr. Perkins, a\\nwidower Fred and Sallie, mischievous children Mary, the\\nSCENE I.\\nA sitting room. Aunt Jemima at tlie\\ntable writing.\\nAnnt J. There, I ve finished botli of\\nmy letters. I wonder if I have any stamps\\nleft. (Hunts for them.) No, there isn t\\none I 11 see if Sarah has any. [Leaves\\nthe room enter Fred and Sallie.]\\nFred. Oh, Aunt Jemima isn t here. I\\nwas going to tell her that I heard Mr.\\nPerkins is in love with her, and see if she\\nwouldn t give me a dime.\\nSallie. You naughty boy, you re always\\nteasing Auntie.\\nFred. I suppose you re always good,\\nthough. Hello, Aunt Jemima has been\\nwriting letters. I wonder if one is to Mr.\\nPerkins. (Picks up letters.) Why, they re\\n134", "height": "2748", "width": "1704", "jp2-path": "practicaldialogu00iris_0138.jp2"}, "139": {"fulltext": "A SLIGHT MISTAKE 1 35\\nnot sealed. Guess I 11 see what they say\\nyou won t tell, will you\\nSallie. No, never.\\nFred (opening the letter). This is to Mr.\\nPerkins. (Reads aloud.)\\nDear Friend\\nI am to be at home to-mor-\\nrow evening, and shall be very pleased to\\nhave you call.\\nYours truly,\\nJemima Barlow.\\nSallie. Te-he-he! I guess Aunt Jemima\\ndoesn t dislike men as much as she pre-\\ntends to. What does the other say\\nFred (reading).\\nDear Friend:\u00e2\u0080\u0094\\nI am very glad you are com-\\ning to visit me. I shall look for you soon.\\nWill you kindly bring me a box of face\\npowder when you come\\nYours truly,\\nJemima Barlow.\\nSallie. Oh, te-he-he I was sure Aunt\\nJemima used face powder, but she always\\npretends to think it is dreadful.", "height": "2712", "width": "1624", "jp2-path": "practicaldialogu00iris_0139.jp2"}, "140": {"fulltext": "136 PRACTICAL DIALOGUKS\\nFred. Sallie, don t you ever tell, and I 11\\nchange tliese notes. Won t it be a joke for\\nher to ask Mr. Perkins to bring her some\\nface powder? Ha-ba-ba!\\nSallie. Wbat a joke Hurry and change\\nthem before she conies in. (Fred changes\\nthe notes.)\\nFred. Now let s go before we are found\\nout. (Exeunt Sallie and Fred.)\\nAunt J. (entering). Now that I have\\nborrowed some stamps I must get my let-\\nters ready. I have written to my friend,\\nMrs. Wilson, who is coming to visit me, and\\nasked her to bring me a box of face powder.\\nOf course I could buy it here, but I don t\\nlike to have people know I use it. A\\nwoman has a right to have a few secrets?\\nI m sure. Then I have written a little\\nnote to Mr. Perkins. Of course, I don t\\ncare anything about him, but I thought I d\\nlet him come to call. Folks do say he\\nwants to get married again, but of course\\nI don t want him. (Seals and stamps let-\\nters.) I m sure I could have been married\\na dozen times if I had wanted to. It is a\\ngreat trial to have a husband to look after.", "height": "2756", "width": "1680", "jp2-path": "practicaldialogu00iris_0140.jp2"}, "141": {"fulltext": "A SLIGHT MISTAKE 137\\n(Puts on bonnet and sHawl.) Now I 11 go\\nand mail these. I suppose Mr. Perkins will\\nbe real glad to come to see me. (Leaves\\nroom.)\\nSCENE II.\\n[Mary, the maid, dusting and arranging\\nthe room.]\\nMary. I believe Miss Jemima is going\\nto have a beau to-night, she is so particular\\nto have everything slicked up. She looked\\nreal happy at supper, too, and did n t even\\nscold when I broke one of her china cups.\\nI think she must be in love, even if she does\\nsay she would n t marry the best man on\\nearth. (Knock is heard.) That must be\\na caller maybe it is Miss Jemima s beau.\\n(Goes to door and ushers in Mr. Perkins.)\\nGood evening, sir. Let me take your hat.\\nHave this easy chair.\\nMr. Perkins. Ah-er is Miss Barlow in\\nMary. Yes, sir. I 11 tell her you are\\nhere. (Exit Mary.)\\nMr. P. (walking the floor) Ah, I hope\\nMiss Jemima will not keep me waiting long.\\nI am very anxious to see her. She is a", "height": "2704", "width": "1620", "jp2-path": "practicaldialogu00iris_0141.jp2"}, "142": {"fulltext": "138 PRACTICAL DIALOGUES\\nmost estimable woman in fact, very esti-\\nmable. I am sure it will be wise for me to\\nask her to share my lot er -to be\\nMrs. Perkins. I fear I should not have\\ndared ask her though if she had not re-\\nquested me to bring her some er face\\npowder. That shows she regards me as\\na personal friend. You know ladies are a\\nlittle shy about letting people know they\\nuse such stuff. Yes, it must be that Miss\\nJemima has tender feelings toward me. Ah,\\nI hear her footsteps. I wonder if it is safe.\\n(Feels in pocket.) Yes, it is. (Takes a\\nchair. Enter Miss Jemima.)\\nMiss J. Ah, good evening, Mr. Perkins.\\nI am very glad to see you. What a delight-\\nful evening I hope you are quite well.\\nMr. P. Oh, yes, thank you. Miss Barlow,\\nquite well. I trust you are enjoying good\\nhealth. I m sure you are looking very\\ner fresh and young.\\nMiss J. Oh, thank you, Mr. Perkins.\\nMr. P. Miss Barlow, I received your\\nkind note, and was much gratified at the\\nconfidence you place in me. I assure you\\nI-", "height": "2760", "width": "1684", "jp2-path": "practicaldialogu00iris_0142.jp2"}, "143": {"fulltext": "A SLIGHT MISTAKE 1 39\\nMiss J. Oh, don t mention it, Mr. Per-\\nkins.\\nMr. P. I assure you I have long held\\nyou in great esteem, Miss Jemima, but\\nMiss J. Why, Mr. Perkins\\nMr. P. Yes, indeed, and I have brought\\nyou the er little article that\\nMiss J. Why, Mr. Perkins, I don t\\nunderstand what you mean.\\nMary (entering). Here s a letter. Miss\\nJemima, that Fred just brought from the\\noffice.\\nMiss J. Thank you; and, Mary, will\\nyou bring in some tea and cake after a\\nwhile\\nMary. Yes, ma am. (Exit.)\\nMiss J. If you 11 excuse me, Mr. Per-\\nkins, I 11 see what this is it may be\\nimportant.\\nMr. P. Certainly, Miss Jemima, cer-\\ntainly.\\nMiss J. Why why\\nMr. P. Is anything wrong. Miss Je-\\nmima? You seem agitated.\\nMiss J. Mr. Perkins, what did what\\nwas in the note I sent you?", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0143.jp2"}, "144": {"fulltext": "140 PRACTICAL DIALOGUES\\nMr. P. You said you d be glad to see\\nme, and asked me to bring you some er\\ntbat is, some face powder.\\nMiss J. Ob, dear! Ob, dear! How-\\ncould I bave made sucb a mistake\\nMr. P. Wbat mistake. Miss Jemima\\nMiss J. Ob, dear! Tbis was your\\nnote, Mr. Perkins. I wrote to a friend wbo\\nis coming to visit me to bring it because\\nI don t like to bave folks bere know I buy\\nit. Ob, dear (Begins to weep.)\\nMr. P. My dear Miss Jemima, I was\\ndeligbted to get tbe tbe powder, because\\nI tbougbt it sbowed tbat you cared for me\\nto trust me so, you know. I I esteem\\nyou very bigbly. Miss Jemima, and if you\\nwould marry me\\nMiss J. Ob, Mr. Perkins\\nMr. P. If you would marry me. my\\ndear, it would be all rigbt you see.\\nMiss J. Ob, really, Mr. Perkins, I\\nMr. P. Ob, you are n t going to refuse\\nme, are you. Miss Jemima See, I brougbt\\ntbe tbe powder. (Gives ber tbe box and\\ntben bolds ber band.)\\nMiss J. Ob wby Mr. Perkins, I", "height": "2756", "width": "1704", "jp2-path": "practicaldialogu00iris_0144.jp2"}, "145": {"fulltext": "A SLIGHT MISTAKE 141\\n(Enter Mary with cake and tea.) Mary,\\nMr. Perkins lias asked me that is\\nwants me\\nMary. Do yon mean he wants yon to\\nmarry him, ma am, and that yon are going\\nto?\\nMr. P.^ Yes, yes, that s it, Mary. You\\nguessed it the first thing.\\nCurtain.", "height": "2696", "width": "1704", "jp2-path": "practicaldialogu00iris_0145.jp2"}, "146": {"fulltext": "SCENE AT THE TICKET OFFICE\\nCharacters The ticket agent and eleven passengers\\nfive male and six female.\\nThe scene is laid in a R. R. ticket office.\\nAt back of stage is a counter behind wbicb\\nthe agent sells tickets. At either side are\\nseats for the passengers.\\nTicket agent. I hope ever3rthing will\\ngo off well to-day. I declare I feel nervous.\\nThis is my first day at such work, and I m\\nanxious not to make any mistakes. Hello,\\nhere comes some one. Good morning, sir.\\nMr. B. (entering). Good morning. How\\nmuch is the ticket to Egypt\\nAgent. Why er what part of Egypt\\nMr. B. What s that to you It costs\\nthe same to get there, no matter which part\\nyou go to.\\nAgent. Well, do you want to go by way\\nof the Mediterranean?\\nMr. B.\u00e2\u0080\u0094 Huh?\\nAgent. Do you want to go by way of\\nthe Mediterranean Sea?\\n142", "height": "2760", "width": "1676", "jp2-path": "practicaldialogu00iris_0146.jp2"}, "147": {"fulltext": "SCENE AT THE TICKET OFFICE 143\\nMr. B. Don t go by any sea might\\npass a few lakes, or frog ponds, though.\\nAgent. I m not sure what the ticket is\\nprobably $300 or more. We don t sell\\nthose tickets here.\\nMr. B. $300\\nAgent. Certainly. It costs something\\nto go to Egypt.\\nMr. B. Say, dummy, I believe you re\\ntalking about that Egypt over in Africa.\\nAgent. Why, yes. Are n t you\\nMr. B. Of course not. I want to know\\nwhat the fare is to Egypt, Penn. It s in\\nLeland county.\\nAgent. Oh, excuse me. (I^ooks at\\nbook.) It costs $21.20 to Egypt, Penn.\\nMr. B. All right. I don t want a ticket\\nto-day. I m thinking of going there for a\\nvisit, and wanted to know how much it\\nwould cost.\\nAgent.\u00e2\u0080\u0094 Oh, I see. [Exit Mr. B. Enter\\nMrs. C]\\nMrs. C. If you please, sir, I want to go\\nto Scrub.\\nAgent. Yes, ma am.\\nMrs. C. Well, I want to go to Scrub.", "height": "2708", "width": "1704", "jp2-path": "practicaldialogu00iris_0147.jp2"}, "148": {"fulltext": "144 PRACTICAL DIALOGUES\\nAgent. Yes, ma am. Where\\nMrs. C. Why, to Scrub. I want a ticket.\\nAgent. Well, ma am, you don t need a\\nticket to go scrubbing. (Aside.) I believe\\nshe s crazy. (Aloud.) Did you want to\\nscrub this room, ma am?\\nMrs. C. (angrily). Sir, I want you to\\nunderstand I m no washerwoman. I want\\na ticket so I can visit my sister in Scrub,\\nAdams Co., Ohio. I 11 not buy it of you,\\nthough. I 11 get it of a gentleman or not at\\nall. [Flounces out.]\\nAgent. Oh, dear, I must be more care-\\nful or I 11 get into trouble. [Enter Mr. D.]\\nMr. D. Say, I want to go to (raps on\\nthe counter).\\nAgent. Yes, sir. I 11 be glad to sell you\\na ticket. Where do you want to go?\\nMr. D. Why, to (raps on counter).\\nAgent. But where is it you want to go\\nMr. D. (rapping). Can t you understand\\nanything? I ve told you plain enough.\\nAgent. You have n t told me where you\\nwant to go.\\nMr. D. (rapping still harder). Well, what\\nam I doing?", "height": "2756", "width": "1676", "jp2-path": "practicaldialogu00iris_0148.jp2"}, "149": {"fulltext": "SCENE AT THE TICKET OFFICE 145\\nAgent. I should say you are trying to\\nknock my counter down.\\nMr; D. (laughing).\u00e2\u0080\u0094- Oh, no I But this\\n(raps again) is a rap, and I want to go to\\nRapp, Wis. I hope you haven t taken\\noffense at my little joke.\\nAgent (laughing). Not at all, sir. (Hands\\nout a ticket.) Here you are, sir. $9.50.\\n[Mr. D. pays for ticket, then takes a seat.\\nEnter little Boy.]\\nBoy. I want to go to Home.\\nAgent. Home Where is your home\\nBoy. Why at Home.\\nAgent (aside). Confound it, I m having\\nwretched luck Seems as if I can t find\\nout- where anyone wants to go. (To the\\nboy.) Where w your home\\nBoy. At Home, sir, and I want to go\\nthere on the cars. I Ve been visiting my\\nUncle Peter.\\nAgent. I don t care where you ve been\\nvisiting. Where did you want to go\\nBoy. I guess you don t know the names\\nof stations very well. I want to go to a\\ntown in Minnesota called Home.\\nAgent. Oh, that s it (Gives boy a", "height": "2696", "width": "1704", "jp2-path": "practicaldialogu00iris_0149.jp2"}, "150": {"fulltext": "146 PRACTICAL DIALOGUES\\nticket, and lie takes a seat. Enter a woman\\nand little boy, carrying satchels, Hand bag,\\nnmbrella, lunch basket, bird cage, band box,\\nand some bundles.)\\nWoman. We want to go to Passenger\\nDepot, Jimmie and me.\\nAgent. I should think, from the looks\\nof your luggage, that you wanted to go to\\nthe freight depot, madam.\\nWoman. No, sir, we want to go to Pas-\\nsenger Depot, don t we, Jimmie\\nJim. Yep I m goin snarin prairie\\nchickens, an drowndin out gophers, you bet.\\nSay, ma, give me some ginger bread. I m\\nhungry.\\nWoman. Well, wait till I get our tickets.\\nAgent. But, madam, this is the passen-\\nger depot right here.\\nWoman (laughing). Why, Jimmie, he\\ndon t know where we want to go.\\nJim. He don t know nothin Say, ma,\\ngive me a piece of gingerbread.\\nWoman. In a minute. (To agent.) We\\nwant to go to Passenger Depot, Minn. It s\\nin Chisago County.\\nAgent (angrily). Plague take such a", "height": "2752", "width": "1684", "jp2-path": "practicaldialogu00iris_0150.jp2"}, "151": {"fulltext": "SCENE AT THE TICKET OFEICE 147\\nfoolish lot of names Here s your tickets.\\nWoman. Now, Jimmie, let s sit down\\nan rest a while.\\nJim. Ma, give me some of that ginger-\\nbread. [They begin to have a lunch. En-\\nter a Norwegian.]\\nNorsk. Say, I skall wants to go by\\nJingo.\\nAgent (aside). Well, by Jingo, here s\\nanother greenhorn who does n t know where\\nhe wants to go. I shall go crazy if this\\nkeeps up, and I 11 not need a ticket to go\\non, either. (Aloud.) Now, sir, where is it\\nyou want to go\\nNorsk. I skall wants to go by Jingo.\\nAgent. But what is the name\\nNorsk. I skall have told you what it\\nvas. I skall own von farm out dare. It\\nvas von pooty gude place. Jingo, Jingo,\\nout in Kansas State. I vants to go out by\\nJingo.\\nAgent. Oh, yes. Well, the train\\ndoes n t go there until 3 30 this afternoon.\\nNorsk. I skall come some nudder time\\ndis afternoon. [Leaves room. Bnter a\\nbashful young lady.]", "height": "2696", "width": "1664", "jp2-path": "practicaldialogu00iris_0151.jp2"}, "152": {"fulltext": "148 PRACTICAL DIALOGUES\\nY. L. I want to buy a ticket, please.\\nAgent (crossly).- Do you know where\\nyou want to go?\\nY. L.\u00e2\u0080\u0094 Ono.\\nAgent. For mercy sake She does n t\\nknow where she wants to go. I never saw\\nsuch folks before (Aloud.) Can t you re-\\nmember where you want to go\\nY. L. (nervously). Ono.\\nAgent. Can you remember what State\\nit is in\\nY. L. Wyoming.\\nAgent. Oh, I know You want to go\\nto Ono, Wyo., don t you\\nY. L. Yes, sir. [Gets her ticket and\\nsits down. Bnter a fat German woman.]\\nGer. I vants to go By-us.\\nAgent.\u00e2\u0080\u0094 What\\nGer. I wants to go By-us.\\nAgent. Go by us Well, you may go\\nby us or around us or over us, madam.\\nAnything to suit you.\\nGer. Veil, I vants me von ticket.\\nAgent. Oh, dear, this must be another\\nof those foolish names 1 What State is\\nit in?", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0152.jp2"}, "153": {"fulltext": "SCENK AT THE TICKET OFFICE 149\\nGer. In Wisconsin.\\nAgent. By-US By-us. Say, do you\\nmean Pius, Wis.?\\nGer. Ya, dot vos vat I say By-us.\\nAgent. Here is your ticket.\\nGer. Ya. Next dime you gifes me\\nmine ticket ven I asks for it, don t it?\\n[Goes to pay for ticket and spills every-\\nthing out of her hand bag on to the floor.\\nEnter two ladies.]\\nI St Lady. I want to go to North Star.\\nGive me a return ticket, please.\\n2d Lady. And I want to go to Rising\\nSun.\\nAgent (in despair). North Star Ris-\\ning Sun! We aren t running a balloon\\nline here, ladies. If we were, I d take it and\\ngo to Heaven. I ve had enough of earth\\nthis morning to last me,\\nI St Lady. Do you mean to insult me,\\nsir?\\n2d Lady. Give me my ticket at once,\\nsir, or I 11 report you to the company.\\nAgent.\u00e2\u0080\u0094 North Star Rising Sun Re-\\nally, ladies\\nI St Lady. North Star, Sac County, Colo.", "height": "2704", "width": "1744", "jp2-path": "practicaldialogu00iris_0153.jp2"}, "154": {"fulltext": "150 PRACTICAL DIALOGUES\\n2d Lad5^ And I want to go to Rising\\nSun, Wis.\\nAgent. I beg your pardon. I ve had\\nsucli a hard time this morning that I m\\nrather muddled. The train doesn t go to\\nNorth Star until this afternoon.\\nist Lad} Thank j^ou, sir. [Leaves\\nthe room.]\\nAgent. Here s 3 our ticket to Rising\\nSun, madam.\\nNorth bound train Ever3 one read}- for\\nthe north bound train [They all hurr}- out,\\nJimmie and his mother going last drop-\\nping one bundle after another.]\\nCurtain.", "height": "2752", "width": "1740", "jp2-path": "practicaldialogu00iris_0154.jp2"}, "155": {"fulltext": "THE LOST CHILD\\nCharacters: Mr. and Mrs. Jones, Grandpa, Grandma,\\nMargaret, Teddy, Mollie, Hans, Mrs. Cooper, Minister,\\nChinaman, Policeman, Messenger Boy, and Gipsy.\\nThe parts should be taken by just as\\nyoung children as can learn the lines.\\nTake pains with costumes, as much depends\\nupon them. Grandpa and grandma are\\nboth deaf and quite feeble the minister\\nshould be slow and very serious. Margaret\\nshould be played by a little girl of about\\nsix years, and Teddy by a boy (or a girl\\ndressed as a boy) of about four; Put as\\nmuch force as possible in the acting and\\nhave everything on time, lines given rapidly,\\nquick entrances, etc. The more snap\\nyou put in it the better it will be.\\nSCENE I.\\nMr. and Mrs. Jones, grandpa, grandma,\\nMargaret, and Teddy sitting at breakfast\\ntable.\\n151", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0155.jp2"}, "156": {"fulltext": "152 PRACTICAL DIALOGUES\\nMr. J. (rising). Well, I must go or I ll\\nbe late to my work.\\nGrandpa. What did you say\\nMr. J. I must go to my work.\\nGrandpa.\u00e2\u0080\u0094 Hurt Who s hurt\\nMr. J. (shouting). ^Work. I must go to\\nmy work.\\nGrandpa. Oh, yes, work.\\nGrandma. What did he say\\nMrs. J. Henry said he must go to\\nwork.\\nGrandma. Haul dirt? Who is he\\ngoing to haul dirt for\\nMrs. J. Work, work he s got to go\\nto work.\\nGrandma. Oh, yes.\\nMr. J. (putting on overcoat). Now, Jen-\\nnie, take good care of Teddy to-day. Don t\\nlet anything happen to him.\\nMrs. J. Why, certainly. I d have a fit\\nif ^Teddy was n t all right.\\nMr. J. Well, good-by, everybody.\\nMargaret. Good-by, papa.\\nMxS. J. Good-by, Henry.\\nTeddy. Good-by, papa.\\nMr. J.\u00e2\u0080\u0094 Good-by. [Exit]", "height": "2760", "width": "1704", "jp2-path": "practicaldialogu00iris_0156.jp2"}, "157": {"fulltext": "THK I.OST CHILD 153\\nTeddy (calling). Papa 1\\nMr. J. (entering). What is it\\nTeddy. Be a good boy to-day.\\nMr. J.\u00e2\u0080\u0094 Yes, I will. Good-by. [Exit.]\\nTeddy (calling). ^Papa\\nMr. J. (entering). Well, Teddy, wbat is\\nit now\\nTeddy. Bring me some candy.\\nMr. J.\u00e2\u0080\u0094 All right. Good-by. [Exit.]\\nMrs. J. (rising). Now we must get the\\nwork done. Mother, let me help you over\\nto the easy chair. [Helps grandma over to\\nthe rocker.]\\nGrandma. Where s my knitting work\\nI want that.\\nMrs. J. Here it is. [Hands it to her.]\\nGrandma. I must get Teddy s stock-\\nings done so he won t have to go barefoot.\\nGrandpa (rising). If you 11 just get me\\nmy hat and cane, I 11 go out for a little\\nwalk. It seems to be a real nice morning.\\nMrs. J. Yes, it is. Don t go too far.\\nGrandpa. What did you say about a\\ncar?\\nMrs. J. (shouting). Far don t go too\\nfar.", "height": "2700", "width": "1748", "jp2-path": "practicaldialogu00iris_0157.jp2"}, "158": {"fulltext": "154 PRACTICAL DIALOGUES\\nGrandpa. No, I won t. [Limps out of\\nroom.]\\nMrs. J. (ringing a bell wHcli calls in tlie\\nservant). Now, MoUie, I want you to clear\\nup the table, and get tbe work done.\\nMollie. Yes, mum, I 11 do so. I 11 fly\\naround so fast you can t see me move, mum.\\n[Sets back cbairs, and begins to clear tbe\\ntable.]\\nMrs. J. Now, Margaret, you must come\\nget ready to go for your music lesson.\\nTeddy, you come witb mamma while she\\nhelps sister.\\nMargaret. Come, Teddy, come with\\nsister. [Takes his hand, and they follow\\nMrs. J. from the stage.]\\nMollie. Sure, I guess I 11 have a cookie\\nthey re extramely good if I did make\\nem mesilf. [Stands with her back to\\ngrandma, and eats cookie.]\\nGrandma. Mollie. (Pause.) Mollie.\\nMollie. Sure, it s jist like her to be\\ncalling me whin me mouth is full of cookie.\\nGrandma. Mollie\\nMollie (turning around). What is it,\\nmum?", "height": "2752", "width": "1740", "jp2-path": "practicaldialogu00iris_0158.jp2"}, "159": {"fulltext": "THB LOST CHILD 155\\nGrandma. Wlio is it just going by\\nMollie (running to window). The new\\npreacher.\\nGrandma. The school-teacher\\nMollie (shouting). The new preacher.\\n(Aside.) Indade, if there were a graveyard\\nnear, I d be wakin up the dead. Now I\\nmust be gitting me work done. [Clears up\\ntable.]\\nMrs. J. (entering with Teddy). Now,\\nTeddy, darling, you come here and play,\\nlike a good boy. (Puts him on a couch and\\ngives him some toys.) Mollie, I must go\\ndown town and get some cloth for Margaret s\\naprons. Will you take good care of Teddy\\nwhile I m gone\\nMollie. Sure, mum. Not a bit of harm\\nshall come to him.\\nMrs. J. Now be sure and watch him\\nevery minute. It would kill me if any-\\nthing should happen to him.\\nMollie. Indade, I 11 take care of the\\nlittle angel, mum.\\nMrs. J. Now, Teddy, you be a good boy\\nwhile mamma is gone. I 11 be back right\\naway. [Exit.]", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0159.jp2"}, "160": {"fulltext": "156 PRACTICAL DIALOGUES\\nMoUie. Now, I must dust the room.\\n[Begins to dust. Enter Hans (wearing\\nwhite cap and white apron, such as butchers\\nuse),]\\nHans. Goot morning. Miss MoUie.\\nMollie (jumping). Sure an ye 11 scare\\nthe life out of me I\\nHans. No, I don t vants to do dot. I\\ndon t like dead girls very goot I radder\\nyou stays alive. You bin von pooty nice\\nyoung lady, ven you don t vas dead. Ya.\\nii^ollie. Don t bother me, I must get\\nmy work done.\\nHans. Say, Mollie, I vants you to come\\nout and see vhat kinds of meat you vants\\nfor dinner.\\nMollie. We want two pounds of veal\\ncutlets.\\nGrandma. What is he talking about,\\nMollie I can t hear a word he says.\\nMollie. About the meat.\\nGrandma. Sweet! Who s sweet?\\nHans.\u00e2\u0080\u0094 Sure, Mollie, and you re sweet.\\nMollie. Meat meat for dinner.\\nHans. Just come out to der wagon, and\\npick out der meat yourself, Mollie. Dot s", "height": "2760", "width": "1748", "jp2-path": "practicaldialogu00iris_0160.jp2"}, "161": {"fulltext": "THE LOST CHILD 1 57\\nder pest vay. I vants to dells you bout a\\nparty dere s going to be to-morrow night, too.\\nMoUie. All right. Teddy, darling, will\\nyou be a good boy while I m gone, an not\\ngo out of the room\\nHans. Here, Teddy, you be von goot\\nboy, and you can have this candy. [Gives\\nTeddy some candy.]\\nMollie. I m going out to get the meat,\\nmum. Will ye plaze look after Teddy a\\nminute\\nGrandma. Yes, I ll watch the little pet.\\nThere sha n t anything happen to him.\\nHans. Come on, Mollie. I ve got a lot\\nof somedings to dells you. [Exeunt Mollie\\nand Hans.]\\nGrandma. Come here, Teddy, and sit\\non grandma s lap. [Teddy climbs into\\ngrandma s lap. She soon begins to doze,\\nand as soon as he sees she is asleep, he\\njumps down and goes to front of stage.]\\nTeddy. Now I m going to run away.\\n[Hurries from stage.]\\nMollie (entering). Now I must finish my\\nwork. (Dusts.) That Hans is such a\\nbother! (Suddenly.) Where s Teddy?", "height": "2708", "width": "1704", "jp2-path": "practicaldialogu00iris_0161.jp2"}, "162": {"fulltext": "158 PRACTICAL DIALOGUES\\n(Shakes grandma.) Where s Teddy?\\nGrandma.\u00e2\u0080\u0094 Eh\\nMollie.\u00e2\u0080\u0094 Where s Teddy?\\nGrandma. Teddy I don t know.\\nMollie.\u00e2\u0080\u0094 The little darling is lost! Oh,\\nthe little swateheart What shall I do\\n[Runs back and forth, on and off of stage,\\nshouting for Teddy. Grandma follows her,\\nlimping slowly, and also calling Teddy.\\nEnter Mrs. J.]\\nMrs. J. What s the matter? Where is\\nTeddy?\\nMollie.\u00e2\u0080\u0094 He s lost\\nMrs. J.\u00e2\u0080\u0094 Lost Teddy lost Oh, what\\nshall we do? (Shakes Mollie.) You dread-\\nful girl, why did n t you take care of him\\nMollie. I just went out to get the meat\\nfor dinner, an whin I came in, he were gone.\\nMrs. J. Run down and tell Mr. Jones,\\nand have him send for a policeman. Hurry\\nup [Exit Mollie. Enter Margaret.]\\nMarg. What is the matter, mamma\\nMrs. J. Teddy is lost we can t find\\nhim anywhere Run over to Mrs. Cooper s\\nand see if she has seen him. [Exit Marg.]\\nGrandma (weeping). Oh, dear", "height": "2760", "width": "1676", "jp2-path": "practicaldialogu00iris_0162.jp2"}, "163": {"fulltext": "THE I^OST CHILD 1 59\\nMrs. J. I m going to hunt around.\\nPerhaps he has hidden somewhere in the\\nhouse. [Exit.]\\nGrandpa (entering). What s the matter?\\nHouse ain t on fire, is it Anything gone\\nwrong Anybody dead [Enter Marg.]\\nMarg. Oh, grandpa, our dear, little\\nTeddy is lost. What shall we do. I want\\nmy little brother. [Begins to cry.]\\nMrs. J. (entering). I can t find him any-\\nwhere.\\nMrs. Cooper (entering). It seems very\\nstrange Teddy could get lost. Have you\\nlooked everywhere?\\nMrs. J.\u00e2\u0080\u0094 Yes. [weeps.]\\nGrandpa. Maybe he s out in the barn.\\nI 11 go and see.\\nMrs. Cooper.^He could n t have fallen\\nin the cistern, could he?\\nMrs. J. Oh, don t mention such a thing?\\nMrs. Cooper. Well, I m going to look\\nand see. My brother s wife s cousin s sister-\\nin-law had a little boy drowned that way\\nlast summer. [Exit.]\\nMrs. J.\u00e2\u0080\u0094 Oh Oh Oh\\nMarg.\u00e2\u0080\u0094 I want my Teddy. [Enter Mr.J.]", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0163.jp2"}, "164": {"fulltext": "l6o PRACTICAL DIALOGUES\\nMr. J. (rushing about the stage). What s\\nthis I hear about Teddy s being lost He\\nmust be around here somewhere. Why in\\nthe world didn t you take care of him? I\\nnever heard of such carelessness in my\\nlife If anything happens to him, I 11\\nMrs. J. Oh, no, you won t.\\nMr. J. Yes, I will, too [Enter police-\\nman.]\\nPolice. Did you send for me What is\\nthe matter Have you been robbed\\nMr. J. Have you heard anything about\\na lost child\\nPolice. Yes, there was a little boy found\\nover on the Bast side who was lost. He\\nMr. J.\u00e2\u0080\u0094 Oh, our dear little Teddy I 11\\nget him at once. [Starts for the door.]\\nPolice (stopping Mr. J.). But this was a\\nlittle negro boy. Does he belong here?\\nMr. J. Oh, no, no but we have lost\\nour little Teddy.\\nPolice. What does he look like\\nMrs. J. The sweetest little fellow in the\\nworld. Has blue eyes, curly hair, and rosy\\ncheeks. He has on a white waist and red\\nnecktie.", "height": "2764", "width": "1748", "jp2-path": "practicaldialogu00iris_0164.jp2"}, "165": {"fulltext": "THE LOST CHILD l6l\\nPolice. Well, I 11 see if I can find liim.\\nI 11 let you know as soon as I get any trace\\nof him. [Exit.]\\nMrs. Cooper (entering). No, lie isn t in\\nthe cistern, for I have looked.\\nGrandpa (entering). And he is n t out\\nin the barn, either.\\nMr. J. This is terrible If anything\\nhappens to him I 11\\nMrs. J. Oh, no, you won t\\nMr. J. Yes, I will, too [Enter minister.]\\nMinister. My friends, I hear you are in\\ntrouble.\\nMrs. J. Yes, indeed, serious trouble.\\nOur little boy is lost.\\nMinister. Well, you know that trouble\\ncomes to us all, and we must bear it pa-\\ntiently when it visits us. You must be\\ncalm and resigned.\\nMr. J. (jumping up). Calm, when our\\nlittle boy is lost I guess not I m going\\nout and search every spot in the city.\\nMarg. I m going, too maybe I can\\nfind Teddy. [Exeunt Mr. J. and Marg.]\\nMinister. I trust. Sister Jones, that you\\nwill try to overcome your grief. You must", "height": "2704", "width": "1744", "jp2-path": "practicaldialogu00iris_0165.jp2"}, "166": {"fulltext": "1 62 PRACTICAL DIALOGUES\\nbe calm, as I said before. Tbis trial is sent\\nto teacb you patience. Now if your little\\nboy bas come to barm,\\nMrs. J. Ob, I can t listen to sucb talk\\nI m going out and bunt up my darling.\\n[Hurries from stage.]\\nMrs. Cooper. I tbink we all ougbt to\\nbelp in tbe searcb. Teddy must be some-\\nwbere near. [Exit.]\\nMinister (to grandpa). Tbis is very sad.\\nGrandpa.\u00e2\u0080\u0094 Bb?\\nMinister. Tbis is an affliction.\\nGrandpa. Did you say tbat to-day is\\nelection?\\nMinister. No no It is too bad tbe\\ncbild is lost.\\nGrandma. Wbat did be say, Samuel?\\nHave tbey found Teddy yet?\\nMinister. No, not yet.\\nGrandma. Wet Wbat is wet Is it\\nraining\\nMinister (sbouting). Tbey bave not\\nfound Teddy yet, but I bope tbey will\\nhope they will. Good-by. [Exit.]\\nCurtain,", "height": "2756", "width": "1684", "jp2-path": "practicaldialogu00iris_0166.jp2"}, "167": {"fulltext": "THE I.OST CHILD 163\\n[Have a curtain about two feet from front\\nof stage, in front of whicli Mrs. Jones and\\nthe gipsy can enter for the street scene.]\\nSCENE II.\\n[On the street. Mrs. Jones enters, weep-\\ning.]\\nMrs, J. Oh, I can t find my little boy,\\nand I can t find anyone who has seen him.\\nI m afraid this will kill us all. [Enter\\ngipsy.]\\nGipsy. Tell your fortune, lady? Tell\\nyour fortune for only fifty cents.\\nMrs. J. No, no go away.\\nGipsy. Lady in trouble lady have\\nsome bad thing happen. I tells you how to\\nmake it all right for only fifty cents.\\nMrs. J. Can you tell me where to find\\nmy sweet little Teddy\\nGipsy. Poor lady She has lost her\\nnice little boy, and his name is Teddy.\\nMrs. J. Who told you so?\\nGipsy. Oh, I know I tells you where\\nto find him for only fifty cents.\\nMrs. J. Here, tell me quick.\\n[Gives gipsy money.]", "height": "2708", "width": "1744", "jp2-path": "practicaldialogu00iris_0167.jp2"}, "168": {"fulltext": "164 PRACTICAL DIALOGUES\\nGipsy. Let me see your hand, lady.\\n(Looks at it.) Oh, a lot of troubles is here.\\nAnd here is a long journey. Before you\\nfinds him, you must travel much and hunt\\nfor Teddy. y\\nMrs. J.\u00e2\u0080\u0094 Oh, dear, oh\\nGipsy (consulting her cards). I see by\\nthe cards that you have some good luck.\\nYes, after a long time you will find Teddy\\nbut before the good luck card here is the\\nknave of hearts he makes you bad luck.\\nI think a wicked man has stolen your little\\nboy away.\\nMrs. J. Oh, I shall go right to the\\npolice, and tell him about it. [Exit.]\\nGipsy (laughing). Ha! ha! I makes\\nmy money easy. Fifty cents more gipsy\\nhas good luck. [Exit.]\\nSCENE III.\\nAs in Scene I. Grandma and Mollie\\npresent.\\nGrandma. Have n t they found Teddy\\nyet?\\nMollie. I don t know.", "height": "2756", "width": "1704", "jp2-path": "practicaldialogu00iris_0168.jp2"}, "169": {"fulltext": "THE LOST CHILD 1 65\\nGrandma. Did you say you guess so\\nMoUie. I don t know. [Exit.]\\nGrandma. Oli, tliat is too bad.\\n[Covers face with hands, rocks to and fro,\\nand weeps. Enter Cliinaman.]\\nChinese. Hello. I come to gettee dirty\\nclothes. (Pause.) You heep sick (Pause.)\\nMe want the clothes to washee. (Pause.)\\nHello, lady. (Pause.) Hello, lady. (Pause.)\\nShe feel bad me feel heep bad, too. [Sits\\ndown and begins to rock backward and for-\\nward as grandma does.] [Enter Mollie]\\nMollie. What s the matter\\nChinese. Me feel heep bad.\\nMollie.\u00e2\u0080\u0094 What for?\\nChinese. Melican lady feel bad me\\nfeel bad alle samee.\\nMollie. What do you want here\\nChinese. Me come to gettee dirty\\nclothes. Me want to washee clothes.\\nMollie. Well, come help me get the\\nbasket.\\n[Exeunt Mollie and Chinese. Enter Mr.\\nand Mrs. J., Margaret, and grandpa. All\\ntake seats and begin to weep.]\\nMrs. J. We can t find a trace of him.", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0169.jp2"}, "170": {"fulltext": "1 66 PRACTICAL DIALOGUES\\nNot a single trace. It is tlie strangest\\nthing I ever heard. I believe the darling\\nmust have been kidnapped. [Enter Mollie\\nand Chinese carrying large, covered clothes\\nbasket.]\\nMollie. Are these clothes all ready to\\nsend, mum\\nMrs. J. I don t know look and see.\\n[Enter messenger boy.]\\nMessenger. Say, that policeman sent\\nme up to tell you that he has found out\\nwhere your little boy is, and he wants you\\nto come down to the station right away.\\n[All jump up.]\\nMr. J. (starting for door). Our dear, lit-\\ntle Teddy I 11 go at once.\\nBridget (raising cover and finding Teddy\\nasleep in the basket). Oh, the little swate-\\nheart i The little darling\\n[Takes Teddy in her arms.]\\nMr. J. (snatching Teddy Oh, our\\nprecious pet Here, Teddy, you rogue,\\nwake up.\\nMrs. J. (taking him). Oh, give me my\\nown sweet darling.\\nGrandma (reaching for him Oh,\\nTeddy, come and see grandma.", "height": "2760", "width": "1704", "jp2-path": "practicaldialogu00iris_0170.jp2"}, "171": {"fulltext": "THE LOST CHILD 167\\nGrandpa taking Hm No, Teddy\\ncome to grandpa.\\nMargaret. Here, let me liave my little\\nbrother.\\nMr. J. (taking Teddy). No, let me have\\nhim.\\nMrs. J. (taking him from Mr. J.). No,\\nlet me have my own darling Teddy.\\nCurtain.", "height": "2696", "width": "1704", "jp2-path": "practicaldialogu00iris_0171.jp2"}, "172": {"fulltext": "A MODERN MIDSUMMER\\nNIGHT S DREAM\\nBY MINNIE FRANCES BROWN\\n[Young man sitting in chair reading Lamb s Tales of\\nShakespeare.]\\nI\\nIt was Midsummer Eve and tlie world\\nwithout\\nInterlocutor\\nIvcd by young Master Puck and his glit-\\ntering route\\nOf full many a fairy and mischievous\\nsprite\\nWas holding high carnival far in the\\nnight\\nThe world within, well twas quiet and\\nsmall\\nA young lad reading his Shakespeare,\\nthat s all,\\nA lad with few friends save those that he\\nfound\\ni68", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0172.jp2"}, "173": {"fulltext": "1\\nMIDSUMMER night s DREAM 1 69\\nIn tHe books that lie owned, and they\\nwere bound\\nYet bound thougb they were by calf skin\\nand board,\\nHe found in them treasures, a precious\\nhoard.\\nII\\nThe night was far spent, almost the twelfth\\nhour.\\nWhen at last overcome by sleep s sooth-\\ning power,\\nThe head falls backward, the feet tumble\\ndown.\\nAction\\nAnd Momus adorns the still brow with\\nhis crown.\\nHis poppy-decked wand, the twin of the\\ndead.\\nIn mystical rings waves over the head.\\nAt last, fast asleep, t would certainly seem\\nThis lonely young man should now have\\na dream,\\nA dream he did have ye gods of the\\nnight.\\nHelp and direct me to tell it aright.", "height": "2688", "width": "1760", "jp2-path": "practicaldialogu00iris_0173.jp2"}, "174": {"fulltext": "170 PRACTICAL DIALOGUES\\nIII\\nAntonio steals toward him, the prince of\\nmankind,\\nWitli Jaques and his pleasantries ambling\\nbehind.\\nAnt:\\nMy ships are all lost, my bond goes by\\nforfeit,\\nThe world s all a stage, men and\\nwomen act on it.\\nTimon\\nLord Timon then mumbles Feast,\\nfriends, f or time flies,\\nNow Ophelia softly looks, starts, and then\\ncries,\\nOph:\\nHere s rue, and rosemary for remem-\\nbrance laid.\\nInterlocutor\\nOh, sweets to the sweet, farewell, dear\\ndead maid.", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0174.jp2"}, "175": {"fulltext": "MIDSUMMER night s DRKAM I7I\\nNext Lady Macbetli comes, with sorrowful\\nmien,\\nWalking ever to cry (L. Macbetli) Will\\nthese hands ne er be clean?\\nIV\\nThen lago, the paragon, the noble, the\\ntrue!\\nlago\\nSteal my purse, but leave that which\\nenriches not you,\\nGood name, dear, my lord, in woman and\\nman.\\nOf their souls is the jewel, so keep it\\nwho can.\\nThe fair Desdemona coming close by his\\nside\\nDesdemona\\nBreathes, I am but a child that my\\nhusband sore chides\\nMark Antony s figure the next doth ap-\\npear,\\nM. Antony\\nPrepare to weep now, if ye have e en a\\ntear", "height": "2712", "width": "1704", "jp2-path": "practicaldialogu00iris_0175.jp2"}, "176": {"fulltext": "172 PRACTICAL DIALOGUES\\nRomeo and his Juliet, shades, what a\\npair\\nThere dwells not in Aiden a couple more\\nfair.\\nV\\nJuliet:\\nWilt thou, now, be gone, whilst yet thou\\nmightest stay?\\nRomeo\\nNight s candles bum out and thou seest\\njocund day\\nPortia (interrupts)\\nTwice blessed is mercy, falls like rain from\\nyon heaven.\\nO, noble and upright young judge, thou rt\\nforgiven\\nFor breaking the spell but hear Romeo\\nsay\\nRomeo\\nHow is it, my soul? Let s talk, tis not\\nday.\\nInterlocutor\\nHa! Richard the Third, to be honest is\\nwisdom.", "height": "2756", "width": "1704", "jp2-path": "practicaldialogu00iris_0176.jp2"}, "177": {"fulltext": "173\\nRichard\\nA horse Give me horse, in exchange for\\nmy kingdom\\nAntipholous, next, and the Dromio come in,\\nBach earnestly striving to find his own kin.\\nDromio\\nOurselves we do now, sir, remember by\\nyou\\nAntiph.:\\nHere pawn I these ducats, for my father\\nI do.\\nVI\\nIt is full twelve o clock, and a distant bell\\nNow strikes the first note of the dying\\nday s knell,\\nIn a curious circle around him arranged.\\nAll at once their demeanor is suddenly\\nchanged\\nThe smiling and scowling their habits\\nforget.\\nIt would seem as if some one had not ar-\\nrived yet,\\nFor with hands uplifted to each pair of\\neyes\\nSome one to discover each anxiously tries I", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0177.jp2"}, "178": {"fulltext": "174 PRACTICAL DIALOGUES\\nVII\\nAs tlie bell strikes two, steps approaching\\nare heard,\\nEach visitor noiselessly passes the word\\nAll:\\nThey re come They re come Imogen,\\nRosalind 1\\nThey pass like the breath of the balmy\\nsouth wind.\\nRosalind\\nWe find tongues in trees as we seek\\nshady nooks,\\nWomen good, fair, and true, found, as well,\\nout of books.\\n[Imogen holds up right arm on which\\nis plainly seen her bracelet both pass\\nacross stage.]\\nHand in hand all together while the bell\\nstrikes three,\\n[They form for a dance led by Mark\\nAntony.]\\nFour peals the old bell, and to dear Auld\\nLang Syne", "height": "2760", "width": "1676", "jp2-path": "practicaldialogu00iris_0178.jp2"}, "179": {"fulltext": "MIDSUMMER night s DREAM 1 75\\nThey march round the dreamer in ne er\\nending line.\\nStill tolls the old bell, five, six. and then\\nseven.\\nThey dance till the strokes have numbered\\neleven.\\nVIII\\nTwelve rouses the echoes and the\\ndreamer s dull sense,\\nThey stop, and watch closely in noiseless\\nsuspense.\\nAction\\nThe twitching of muscles, the rubbing of\\neyes,\\nWhich prove the awakened about to arise.\\nThen with scampering footsteps, and ges-\\nturings bold.\\nThey descend to the realms ruled by mor-\\ntals, we re told.\\n[Or: if the exercise is desired for gradu-\\nation, as follows\\nThen with scampering footsteps and ges-\\nturings accurate.", "height": "2704", "width": "1704", "jp2-path": "practicaldialogu00iris_0179.jp2"}, "180": {"fulltext": "176 PRACTICAL DIALOGUES\\nEach descend among mortals, a public\\nschool graduate.\\nIX\\nTheir visit (or our school year) is ended\\nI have finished my theme\\nThe sleeper awakes, it was only a dream.\\nKind friends, fare you well, my story is\\ndone.\\nGood precept and practice may they help\\nus each one.\\nDirections for presentation\\nThe interlocutor recites slowly and with\\neffect in connection with the speech of each\\napparition, waiting for characteristic action\\nand pose.\\nThe text furnishes suggestions for action\\nthroughout. A triangle should be used for\\nbell, and must be struck in harmony with\\nthe forming for dance, and the circling\\naround the dreamer.\\nThe apparitions depart leaving the\\ndreamer and interlocutor, who finishes the\\ntext as the dreamer becomes fully awakened,\\nand passes off the stage.", "height": "2780", "width": "1724", "jp2-path": "practicaldialogu00iris_0180.jp2"}, "181": {"fulltext": "MIDSUMMER night s DREAM 1 77\\nWherever quotations are omitted in text,\\nthe interlocutor speaks.\\nThe costuming can be easily arranged by\\nstudying the illustrations in the different\\nplays introduced.\\nThe different characters appear as the\\ninterlocutor mentions their names. This\\ngives times to get position and be ready\\nfor speech.", "height": "2712", "width": "1592", "jp2-path": "practicaldialogu00iris_0181.jp2"}, "182": {"fulltext": "", "height": "2724", "width": "1676", "jp2-path": "practicaldialogu00iris_0182.jp2"}, "183": {"fulltext": "MIDSUMMER FAIRIES.\\n(Motion Song.\u00e2\u0080\u0094 Two Parts.)\\nText by Minnie Frances Brown. Music by Mrs. W. F. Leavitt.\\nt^f=^\\nr -h |V--p=\\nF^=\\n1\\nSwiug-iiig\\nt^T^\\n-i\u00e2\u0080\u0094~d\\nto right hand and\\n_\u00c2\u00b1_! 1\\n1 _ _^_ J\\nsway ing,\\n1 FT-; ^-^q\\nP^.\\nA\\n~f- -0 1\\nSwing\\nmg,\\nswing-ing to right hand and\\n-N w-\\n^-^1\\nSway -ing to right as we swing;.\\ning,\\nSway-ing to right as we\\nS\\nh h 1^\\ns\\n^EE^\\nSpring-ing on tip toe and fling\\nin\\n-h K-\\nswing;.\\nSpring-ing on tip toe and\\nf-\\nN-\\n--1\\n1\\nWreath\\n-ings\\n-J\u00e2\u0080\u0094\\nthat\\nting\\na\\nling\\nling;...\\nr~\\nK-\\n=d=\\nW^\\ny=4\u00c2\u00b1\\n=at:\\nfling\\ning,\\nWreath-ings that ting-a ling-", "height": "2692", "width": "1616", "jp2-path": "practicaldialogu00iris_0183.jp2"}, "184": {"fulltext": "MIDSUMMER FAIRIES\u00e2\u0080\u0094 CONTINUED.\\nn?+\u00e2\u0080\u0094 s\\nM 1\\nJ\\n1\\n3\\nFling -ing to left hand up\\nlift ed,\\nIk\\n_J_5\\nT^ iv_\\n/m r~\\ns ih\u00e2\u0080\u0094\\nW J-- i\\ni__^ a 1\\nling;.\\nFling-ing to left hand up-\\nSpright-ly\\nand\\nN-\\nlithe,\\nfor\\nw\\nwe\\n-1\\nknow.\\n1 N-\\n1* J\\n1\\nP\\n=b=t=\\nN\u00e2\u0080\u0094\\nlift\\ned,\\nSpright-ly and lithe, for we\\nrfr-i t M\\nH 1 1\\nJ J f J^\\ni\\nV y y\\nFair ies are nim ble, good gift ed,\\nn it\\n^fc^\u00e2\u0080\u0094 1 1\\nT\\nffl\u00e2\u0080\u0094 S-.\\nt-*\u00e2\u0080\u0094 ^.^=i^=\u00c2\u00a3=g^\\nknow.\\nFair ies are nim- ble, and\\ni=#\\nBack to po si tion we throw.\\ni\\n15^\u00e2\u0080\u0094\\nBack to po\\nsi tion\\nl8o", "height": "2752", "width": "1704", "jp2-path": "practicaldialogu00iris_0184.jp2"}, "185": {"fulltext": "MIDSUMMER FAIRIES\u00e2\u0080\u0094 CONTINUED\\nII.\\n:f5=:i:\\n-0 r I\\nShak ing a loft, tink ling light ly, Clang-ing like\\ni\\nmor tals be time, Trem-bling aud blend- ing iu\\n3fe\\nr J 1 j r =q^; -=^1 I\\nJO:\\ncho rus, Sound ing sweet mys tic al chime;\\nP\\n4==-.\\n:S=|=^\\n7\\nShim\\nmer -ing round to the right, then, Fol-low, to\\nF#=^\\nh-\\n-1\\ns-\\nN\\ns\\nh^t^\\n-f-\\n=i=^\\n=*S*-^\\ntr\\n-r=\\n=S^\\n1\\nleft far and wide; Hark to our mu sic re-\\n^m^^^m^\\nsound ing, Bound-ing through space where we bide.\\nIII.\\nn ff\\nV^ f\\nK f\\\\\\nlm; o\\nJ J\\nJ\\n10\\nSly\\nn 4\\nly we slide, of fer gai ly.\\nMTj\\n1 1 N\u00e2\u0080\u0094\\nSc H -Hy\\nW^=^\\n1\\nb-j-^ ^g=j\\nSly\\nly,\\nsly ly we slide, of fer", "height": "2704", "width": "1616", "jp2-path": "practicaldialogu00iris_0185.jp2"}, "186": {"fulltext": "4 MIDSUMMER FAIRIES\u00e2\u0080\u0094 CONTINUED.\\nJL -N-\\n1\\nh-\\n^-^-f^\\nWd j^\\ny\u00e2\u0080\u0094\\nJ 11\\nBend then\\nour\\nhells down he low,\\ny Tr\\nP^ K N K\u00e2\u0080\u0094\\n9 Zl\\nJ\\nly, Bend then our hells down he-\\ngai\\n1\\n\u00e2\u0096\u00a00^ N-\\nJ ^-n\\nT~\\ntH\\ni\\nLift high\\nn tt\\nthe\\nro sy ring, arch ing,\\nAk^ j I 1 r^ K h. 1\\nJ\\nlow,\\nn i\u00c2\u00b1\\nLift high the ro sy ring,\\nV\\nih^ N\\ni\\nPath way\\nfor\\nfair y feet,-\\nSO\\nV ft\\nifm\\n[V-^-4^^-^-\\nJ J.\\narch\\ning, Path-way for fair y- feet,\\ni?K s\\nS-\\nI J\\ni\\nH e\\nv\\n13\\nUp, to\\nn\\nthe\\nleft, swift ly\\nsteal ing,\\n1^\\n-M\\nN\u00e2\u0080\u0094\\n^P=J\\n=^r-/ T\\nso;\\nrG-i\u00e2\u0080\u0094\\nN\\nUp, to the left, swift-ly\\niir\\ne f f~\\nfm\\nvm; ;v\\nTrick that\\nthe\\nright hand doth know\\n(T\\\\1 af\\n-f S N-J N\u00e2\u0080\u0094\\nW ^^^7\\nJi^ 1\\nL_v g\\nsteal\\nTrick that the right hand doth", "height": "2752", "width": "1684", "jp2-path": "practicaldialogu00iris_0186.jp2"}, "187": {"fulltext": "MIDSUMMER FAIRIES\u00e2\u0080\u0094 CONCLUDED.\\nNr-\\nr-h-\\nBlithe\\n\u00e2\u0080\u00a2ly\\nthe\\nU\\nmid-\\nsum-\\nmer\\nfair\\n-fr-\\nies\\n^^=L\\nu\\n^-T\\n-J\u00e2\u0080\u0094\\n3t=\\n=i=\\nknow,\\nBlithe- ly the fair -ies will\\n1=*:\\n14\\nSwing their glad bells to and fro.\\ni 5^ :J. i\\nSwing their glad bells to and fro.\\nDiEECTiONS: This exercise requires small hoops wound with\\ncolored paper, pink is most appropriate, and decorated with paper\\nflowers intermingled with tiny bells. The bells can be wired on\\nwith very little trouble. Fairies may be dressed in paper costumes\\nmade to represent the flower chosen. The crepe paper is very adapt-\\nable for costuming. There must be an even number of participants.\\n1 Class in position, wreaths in left hand. At 1 swing to right\\nhand, and sway body per words. 2: Rise on tiptoe, shake the tink-\\nling wreath at arm s length, right, back to position. 3: Eepeat these\\nmotions with left hand. 4: Back to position, holding wreath in both\\nhands, arm s length down against knees. 5: Hold in both hands,\\nlift head-high and shake. 6 The two so arranged by director, strike\\nwreaths together. The grouping will depend upon amount of room\\nand number of children engaged in the exercise. 7: Turn the\\nwreaths in circle to the right. 8 To the left. 9 Place left hand\\nto ear, shaking the wreaths with right hand, close to the left ear.\\n10: Slide to the left, presenting wreaths, arm s length, left hand.\\n11: Hold in both hands, bend to the floor. 12: Partners touch\\nwreaths together, at arm s length, forming arch. 13: Change hands,\\nwith same motion. (Conditions will govern the arrangement of this\\nnumber. Any teacher can plan the figure so that an arch will be\\nformed by the union of two wreaths.) 14: Swing the wreaths from\\nright to left, chest-high.\\nMotions may be added to without singing, by use of two pianos,\\nor piano and violin accompaniment.\\n183", "height": "2708", "width": "1600", "jp2-path": "practicaldialogu00iris_0187.jp2"}, "188": {"fulltext": "", "height": "2752", "width": "1676", "jp2-path": "practicaldialogu00iris_0188.jp2"}, "189": {"fulltext": "History it the evidence of time, the light of truth, the life of\\nmemory, the diredion of life, the herald of antiquity, committed to im-\\nmortality. \u00e2\u0080\u0094Cicero.\\nGIBSONPS SCHOOL HISTORY OF THE\\nUNITED STATES\\nIF^^Y recent events, our country has been making not only\\nI m^^ national but world history it is important to know,\\ntherefore, that Gibson s History has just been revised\\nto include all occurrences up to the close of the century. The\\nSpanish-American war, and subsequent events, receive full and\\nfair treatment and now can be taught at a period when it\\nwould be derelift to omit them.\\nThe greatest preceptors have with one accord acknowledged\\nGibson s History to be the most practical historical text-book\\nbefore the public in general plan and adaptation to its purpose\\nin the material selefted and uses made of it in its easy lan-\\nguage and clear statements in the marshaling of events into\\nvarious epochs and the problems taught by them in its ex-\\nercises, maps, charts and illustrations; in its faithfulness to\\nfiidts and its geneAl interest as a story of our country.\\nIts Arrangement of Matter\\nThe Arrangement of Matter is Topical. The causes, unity\\nand results of related events are kept together. The Map\\nExercises associate the locality with the event, while their\\nlogical sequences are emphasized in the text. Historical Par-\\nallel Readings are suggested, which hold the student s mind\\nlong enough on each topic to become thoroughly acquainted\\nwith the fa\u00c2\u00a3ts. History and Literature are made to supplement\\neach other, adding zest to the student s interest. Elementary\\nCivics, and Literature and Civics, are correlated in a most\\ninteresting\u00c2\u00abmanner.\\nThis popular history is not only a model text-book, but is\\nalso a story of our country told in concise, but remarkably in-\\nteresting narrative style, and should be in every teacher s and\\npublic library for general information and ready reference.\\nThose portions of it relating to our Civil War are invaluable in\\naccuracy of text, fairness of detail, and discriminate grouping of\\nevents, and in illustrations by maps and charts.", "height": "2708", "width": "1600", "jp2-path": "practicaldialogu00iris_0189.jp2"}, "190": {"fulltext": "the proper fundion of a government is to make it easy for the people\\nto do good, and difficult for them to do evil. Gladstonb.\\nCIVIL GOVERNMENT\\n|IVICS is a study of great disciplinary value. It has\\nnot only its machinery and its methods, but also its\\nprinciples and theories, and develops some of the\\nnoblest faculties of the mind. Government and his-\\ntory are closely affiliated. History finds its most prominent\\ntopic in government, while government is unintelligible with-\\nout history. We offer for three States very valuable texts.\\nIllinois and the Nation\\nThe most widely used text on Civil Government in Illinois. This\\nbook was written in the hope of promoting the study of the govern-\\nment of Illinois and the Nation, and of hastening the time when the\\ncivil government of our State will be added to the list of required\\nstudies for our common schools. How well the author has struck\\nthe chord of popular sentiment in regard to the study of civics In our\\ncommon schools is shown by the popularity of this book.\\nPrice, cloth, 267 pages, 60 cents\\nIowa and the Nation\\nThe popularity of Iowa and the Nation is ghown by the fact\\nthat it was adopted by more schools in Iowa in a single year than all\\nrival text books combined. It is in use in a large number of counties,\\nhaving been adopted by the County Board of Education in each\\ncounty for a term of five years. It is also used in hundreds of town\\nand city schools, and it is, in faft, the standard text book on this\\nsubject.\\nCloth, 354 pages. List, $J.OO Introduction, 90 cents\\nWisconsin and the Nation\\nEmphasizes the importance of the student obtaining a thorough\\nknowledge of local and State affairs. The student needs this infor-\\nmation that he may properly comprehend political conditioni.\\nPrice, cloth, 300 pages, 75 cents\\nThe A\\\\akin^ of Iowa\\nThis book, by Henry Sabin, ex-State Superintendent of Public In-\\nstruction, bristles with information, and reads like a romance. Con-\\ntaining as it does a succinfl account of the rise in importance of the\\nUpper Mississippi Valley, out of which Iowa finally was carved, the\\nvalue of the book is not confined to Iowa alone, but appeals to every-\\nbody ir.terested in the history of the nation. As a fascinating\\nnirratif e end a handy reference book the work is unique. It is weU\\nillustrated with many full-page piaures of early history. Contains\\n\u00c2\u00bb8o pages, well bound in cloth.\\nPrice. $1.00", "height": "2752", "width": "1676", "jp2-path": "practicaldialogu00iris_0190.jp2"}, "191": {"fulltext": "\u00e2\u0096\u00a0Society is well govtrned when the people obey the magistrates a\\nthe magistrates obey the law.^^ Solon.\\nCallahan s Outlines of Civil Government of the\\nUnited States\\nBy J. M. Callahan, John Hopkins University.\\nThese outlines present the history, nature and operation of our\\ngovernment in a systematized form that will be of much assistance\\nto teachers and pupils. The book contains\\nI. A Complete Outline of the Subjed. Notes, explanations and\\nforms of answers given where it has been thought necessary and\\nbeneficial to the student.\\n1. Blackboard Schemes for Reviews.\\ni. Siuestions for Examination and Reviews.\\nAll studenti of History and Civil Government, and persons pre-\\nparing for examination, should have this manual.\\nPrice, 15 cents\\nLewis Topical Analysis of U. S. History,\\nWith Library References, for teachers and pupils, by Jesse Lewis,\\nProfessor of History in Missouri State Normal School, Warrensburg.\\nThe exclusive one-book text confines the pupils to the views of\\none author and does little to stimulate thought or to arouse interest.\\nIn this work topics or leading events arc given, and then follows list\\nof books in which full information may be had of the topics men-\\ntioned, the page of each book being given. It, in this way becomes\\na pathfinder to the views of every author of importance and a\\ngreat time-saver.\\nPrice, cloth, 40 cents j paper covers, 25 cents\\nOutlines, Sketches and Tables in U. S. History\\nBy S. Laura Ensign. Seventy thousand copies of this work have\\nbeep, sold. More teachers of U. S. History use this book than all\\nothers combined. It is used also by many pupils in all parts of the\\ncountry.\\nPrice, 25 cents $2.40 per dozen\\nEnsign s History Outlines\\nPupils Edition. Advanced grade. An outline and note book for\\npupils. Contains outlines, notes, questions and suggestions, blanks\\nto be filled by the pupils, skeleton maps of important campaigns,\\nlist of cabinet officers, chart showing times and duration of power\\nof all political parties, etc., etc. Also zj pages blank paper for\\nadditional notes.\\nPrice, 25 cents j $2.40 per dozen", "height": "2692", "width": "1592", "jp2-path": "practicaldialogu00iris_0191.jp2"}, "192": {"fulltext": "Government is not merely advice it it authority, with power to\\nenforce the laws. WASHINGTON.\\nThe Story of La Fayette\\nBy Margaret J, Codd, Chicago Public Schools. The objeft of\\nthis book Is to familiarize the pupils of American schools with the\\nlife of LaFayette, to whose services we owe so much.\\nThe author has told the story of the brave heart and pure life of\\nLaFayette in a series of incidents taken from reliable sources, and in\\na way that can not fail to arouse noble thoughts in the minds of the\\nreaders. Fully illustrated with half-tones.\\nPrice, n2 pages, paper, 20 cents; cloth, 30 centa\\nCortes, Montezuma, and Mexico\\nBy Bess Mitchell, Chicago. This is a work of the highest merit\\nand is beatifuUy illustrated with half-tones. It tells of the discovery\\nand conquest of Mexico, its wars and revolutions, its customs and\\ncostumes, its ruins and antiquities, its legends and amusements, and\\nits probable future.\\nThe author has made this volume an interesting supplement to the\\nstudy of history and geography, and an invaluable aid in the study\\nof the Mexicans, their manners and characteristics as a people. The\\nbook is written in an easy narrative style, and while it teems with\\nfafts and legends of past history, it is of especial interest in recording\\nthose features of life that are making the history of to-day,\\nIt is a good history, good geography, and interesting reading.\\nMr, Flanagan is one of the first to realize the importance of teaching\\nthe children of the country about Mexico, past and present.\\nJournal of Education.\\nPrice, J 39 pages, cloth, 35 cents j paper, 25 cents.\\nEnsi^i\\nign s Outlines in Ancient, Medieval and\\nModern History\\nThese outlines are prepared for the use of teachers and pupils\\npursuing the study of history by the topical method. An attempt\\nhas been made to put a good deal of information in the terse state-\\nments, especially on points not apt to be given in text-books. The\\noutlines are adapted to any text or reference books to which the\\npupils may have access. At the close of a country or century, lists\\nof reference books are given, to which the author has made frequent\\nreference in the preparation of the outlines. Contains z6o pages of\\noutlines, notes, maps, all difficult names respelled or diacritically\\nmarked, also 8o pages blank through the book for notes.\\nPrice, cloth, 75 cents", "height": "2764", "width": "1676", "jp2-path": "practicaldialogu00iris_0192.jp2"}, "193": {"fulltext": "Government is a trust and the officers of the government are the\\ntrustees; both the trust and the trustees are created for the benefit of\\nthe feofle.^^ HENRY ClAY.\\nDodge s Outlines for English History\\nThis work, by S. S. Dodge, of the Chicago Public Schools, is\\ndesigned to aid teachers aid students in the presentation, study or\\nreview of English History. It aims to place before its readers a\\nclear, continuous, interesting and suggestive outline of the social,\\npolitical, intelleftual and religious development of the English people\\nfrom the earliest time down to the present. The Topical Reviews,\\nTopics for Written Work, Queer Queries, etc., will be found both\\nuseful and suggestive. The Outlines are helpful to those teachers\\nwho have books in which the text is too long for school use, also\\nwhere a variety of books are in use.\\nPrice, paper binding, 128 pp., 25c. board binding, 35c.\\nlake s Course of Study in History and Literature\\nBy Emily J. Rice, Chicago School of Pedagogy. For each grade\\nof the public schools, from the first to the eighth inclusive, an outline\\nis given for teaehing history and literature. This outline includes\\nlists of stories and poems histories, books of reference, etc. Follow-\\ning these are outlines for work in history and literature for each\\ngrade from September to June inclusive. Also chapters on Methods\\nof Teaching History, and The Relation of History and Art.\\nIt is a vigorous piece of work, comprehensive and attractive. The\\noutline work in history and literature for each month is a master-\\npiece. A bibliography of books of reference and children s reading\\nreferred to in the volume, covers 21 pages, arranged under authors,\\nwith publishers given.\\nPrice, cloth, J 90 pages, 75 cents\\nTrainer s How to Teach and How to Study United\\nStates History\\nProceeding upon the assumption that the student should remember\\nimportant fads, the author presents by means of admirable Brace\\nOutlines for the Blackboard, A Series of Object Lessons in History.\\nThis work also contains a Blackboard Analysis of each Topic in\\nUnited States History, Direflions for Teaching and Studying each\\nTopic, Methods, Written and Oral Reviews, i,ooo Questions and\\nAnswers on United States History, Questions on individual States\\nand Territories, Names and Mottoes of States, etc. They give a\\nclear and intelligible outline of all important topics confusing,\\nnon-essential details being avoided. The book contains 328 pages.\\nPrice, cloth, J .00\\nIn addition to these we carry all the standard works on\\nhistory, such as reference, texts, travels, accounts, etc. We\\nsell these at the lowest prices.\\nA. FLANAGAN\\n267 Wabash Avenue, CHICAGO", "height": "2708", "width": "1584", "jp2-path": "practicaldialogu00iris_0193.jp2"}, "194": {"fulltext": "", "height": "2724", "width": "1676", "jp2-path": "practicaldialogu00iris_0194.jp2"}, "195": {"fulltext": "", "height": "2664", "width": "1560", "jp2-path": "practicaldialogu00iris_0195.jp2"}, "196": {"fulltext": "Deacidified using the Bookkeeper process.\\nNeutralizing agent: Magnesium Oxide\\nTreatment Date: Nov. 2007\\nPreservationTechnoIogies\\nA WORLD LEADER IN COLLECTIONS PRESERVATION\\n111 Thomson Park Drive\\nCranberry Township, PA 16066\\n(724) 779-2111", "height": "2724", "width": "1704", "jp2-path": "practicaldialogu00iris_0196.jp2"}, "197": {"fulltext": "", "height": "2692", "width": "1588", "jp2-path": "practicaldialogu00iris_0197.jp2"}, "198": {"fulltext": "", "height": "2918", "width": "1833", "jp2-path": "practicaldialogu00iris_0198.jp2"}}