{"1": {"fulltext": "", "height": "4496", "width": "3134", "jp2-path": "drawingroomstage00bak_0001.jp2"}, "2": {"fulltext": "LIBRARY OF CONGRESS.\\nChap. Copyright No.\\nUNITED STATES OF AMERICA.", "height": "3936", "width": "2704", "jp2-path": "drawingroomstage00bak_0002.jp2"}, "3": {"fulltext": "", "height": "3980", "width": "2988", "jp2-path": "drawingroomstage00bak_0003.jp2"}, "4": {"fulltext": "", "height": "3929", "width": "2747", "jp2-path": "drawingroomstage00bak_0004.jp2"}, "5": {"fulltext": "", "height": "3978", "width": "2832", "jp2-path": "drawingroomstage00bak_0005.jp2"}, "6": {"fulltext": "", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0006.jp2"}, "7": {"fulltext": "THE\\nDRAWING-ROOM STAGE:\\nA SERIES OF ORIGINAL\\nDRAMAS, COMEDIES, FARCES,\\nENTERTIIINMENTS FOR MflTEOR THEMRIGES UND\\nSCHOOL EXHIBITIONS.\\nBY\\nGEORGE M. BAKER,\\nAUTHOR OF AMATEUR DRAMAS, THE SOCIAL STAGE, THE\\nMIMIC STAGE, A BAKER S DOZEN HUMOROUS\\nDIALOGUES, ETC.\\nBOSTON\\nv..", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0007.jp2"}, "8": {"fulltext": "38171 ^T^\\nTHE DRAWING-ROOM STAgI:\\nA SERIES OF\\nORIGINAL DRAMAS, COMEDIES,\\nFARCES AND ENTERTAINMENTS FOR\\nAMATEUR THEATRICALS AND\\nSCHOOL EXHIBITIONS\\nBY\\nGEORGE M. BAKER.\\nILLUSTRATED.\\nCONTAINING\\nliy Brother s Keeper. 68/^20 ^\u00c2\u00ae^*1\u00c2\u00ae\u00c2\u00b0^\u00c2\u00ae\u00c2\u00b0 of the Jury.\\nThe Revolt of the Bees. The Seven Ages.\\nA Tender Attachment. The Boston Dip.\\nAmong the Breakers. The Duchess of Dublin.\\nEntered, according to Act of Congress, in the year 1872, by\\nGEORGE M. BAKER,\\nin the Office of the Librarian of Congress, Washington.\\nCopyright, 1900, by Emily F. Baker (in renewal).\\n\u00e2\u0096\u00a0F.V JSL _ I i\\no", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0008.jp2"}, "9": {"fulltext": "PEEFACE.\\nAs The Social Stage, The Mimic Stage, and\\nAmateur Dramas are still live books in the pub-\\nlishers* catalogue, and greedy amateurs are crying for\\nmore, the author is confident that he will not wear his\\nwelcome out by the publication of The Drawing-room\\nStage although, as it contains his fiftieth dramatic\\ncomposition, the title of a prolific writer, so often\\napplied, for good or ill, to those who play frequent en-\\ngagements upon the world s broad stage with pen and\\nink in sock and buskin, may fairly be fastened\\nupon him. This, certainly, is not always a meritorious\\ndistinction, and would be poor satisfaction to the author\\nfor his efforts, should not a few grains of truth and\\nthought be found in his acres of caricature and bur-\\nlesque. This volume, like its predecessors, is designed\\nto present original and healthy entertainment for the\\nhome circle, the exhibition hall, and the school platform.\\nThe same plans which characterize the former volumes\\nmay be found here the doing away with elaborate\\n3", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0009.jp2"}, "10": {"fulltext": "4 PREFACE.\\nscenery and costumes, the absence of strained and un-\\nnatural spouting, and, as far as possible in dealing\\nwith every-day characters, the omission of slang.\\nWere this latter excluded altogether, a good play might\\nbe written, but the best-natured audience would fail to\\nfind characters, or to be amused, and the strongest\\nrailer against this custom of American society be the\\nfirst to turn his back upon the tedious performance. For\\nthe many favorable notices by the press of his previous\\nworks, the author returns thanks; to his unfavorable\\ncritics, he can only say, that as dramatic composition\\nwdth him is but a pastime, and not an occupation, per-\\nfection should not be expected.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0010.jp2"}, "11": {"fulltext": "CONTENTS.\\nMy Brother s Keeper.\\nA Drama,\\nPAOB\\n7\\nThe Eevolt of the Bees.\\nAn Allegory,\\n69\\nA Tender Attachment.\\nA Farce,\\n85\\nAmong the Breakers.\\nA Drama,\\n107\\nGentlemen of the Jury.\\nA Farce.\\n171\\nThe Seven Ages.\\nA Tableau Entertainment\\n187\\nThe Boston Dip.\\nA Comedietta,\\n215\\nThe Duchess of Dublin.\\nA Farce.\\n241\\nAll the Plays in this book are furnished separately by the\\npublishers. Price 15 cents eacii\u00c2\u00ab", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0011.jp2"}, "12": {"fulltext": "", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0012.jp2"}, "13": {"fulltext": "MY BROTHEH S KEEPER.\\nA DRAMA IN THREE ACTS.\\nCHARACTEBS.\\nAbel Benton, Merchant\\nMatthew Allen, n\\nRichard Carnes, his Clerks*\\nCharles Benton, 5\\nJob Latton (Scraps), a Rag-picker.\\nGrace Benton, Abel s daughter.\\nRachel Allen, Matthew s sister.\\nBbtset Benton, Abel s sister.\\nCOSTUMES.\\nAbel Benton. Blue coat, white vest, white aecktie, dark\\npants, gray wig, side whiskers.\\nMatthew Allen and Richard Carnes. Act 1 and 2, Business\\nsuits. Act 3, Evening dress.\\nJob Latton. Act 1, Ragged coat fastened at the waist with a\\nrope, rough iron-gray wig, rough beard, dark pants, large\\nboots unblacked, dark necktie, old hat. Act 2, Black pants\\nand coat, white vest, white necktie, hair and beard trimmed.\\nThe dress should be good but slouchy.\\nToi^Lx Benton. Act 1, Dark pants, white shirt, a large wet", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0013.jp2"}, "14": {"fulltext": "8 BfT brother s keeper.\\nhandkerchief thrown loosely about his neck, boots in his hand^\\nand coat over his arm, socks on his feet, hair dripping wet\\nSprinkle the clothes with bits of isinglass for a general soused\\nappearance; change to Base Ball suit, with the letter G on\\nbreast. Act 2, Business suit. Act 3, Neat evening dress.\\nGrace Benton. Act 1, Fashionable summer dress, with shawl\\nand hat. Act 3, White evening dress, ri2h and tasty.\\nRachel Allen. Acts 1 and 2, Neat and pretty street dress.\\nAct 3, White.\\nBetsey Benton. Act 1, Black silk dress, scant, old-fashioned\\nshawl and hat, gray front of hair. Act 3, Black silk dress,\\nwhite bertha, front, and cap.\\nAct 1. Scene. Abel Benton s counting-room. Desk\\nagainst wall^ r. Desk against wall^ L. Writing tahle^\\nC, with drawer opening at hack. Chairs before desks^\\nR. and L. Chair r. of table. Lounge behind table^ c.\\nOn desks inkstands^ pens^ paper^ c. The entrances\\nare from r. and l. that on the r. is from the ware\\nhouse and the street that on the L. leads to Abel Ben-\\nton s private room. Richard Carnes discovered seated\\nat desk^ l,\\nRichard. 56 65 72 81 90. Figures, figures,\\nfigures I m heartily tired of this drudgery, day after\\nday, castiug up columns that add no sum total to my\\nearthly happiness. If one could be as lucky as our head\\ncentre, Abel Benton, patience would indeed be a virtue.\\nBut he s one in a thousand. First a rag-picker, a\\nsearcher in cast-out heaps of rubbish for scraps of paper,\\nrags, old junk, anything that by accumulation could pro*\\nduce a few pennies with which to keep soul and bod^", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0014.jp2"}, "15": {"fulltext": "MT BROTHER S KEEPER. 9\\ntogether; tlien, by the usual stages of honest industry,\\nrising to the more honorable position of peddler, proprietor\\nof a small junk shop, general speculator in paper stock,\\nand now gathering rags from every quarter of the globe,\\nsupplying almost every paper-mill in the country with\\nan income sufficient to glut the appetite of the most luxu-\\nrious, and a name A 1 on the street while I, with a\\nrich and stingy old father, am forced to drudge in the\\ncounting-room of this opulent rag-picker for a meagre\\nsalary, keep myself, and grow rich on expectation. O,\\nit s a funny world 7 16 21 a remarkably fa-\\ncetious old globe 32 37 41. Hallo who s there\\nEnter Scraps, r., with a hasJcet. In all his scenes his\\neyes are roving about the stage, and in this Act he picks\\nup scraps of rags and paper, which should he left about\\nfor that purpose.\\nScraps. Eh, hey {Puts his hand to his left ^ar with\\nthis word, always,) O, if you please, Mr. Carnes, here s\\nmy ticket from the warehouse twenty-five cents white,\\nall white, four pounds and a quarter just twenty-five\\ncents. Hey, Mr. Carnes.\\nHick, (takes ticket, and gives Scraps scrip from desk).\\nTwenty-five cents and is that the extent of your day s\\npickings. Scraps?\\nScraps. Hey? Yes, that s all. Pickings is hard,\\nMr. Carnes.\\nBich. O, you ll never amass a fortune at this rate.\\nLook a/ the shining example of successful rag-picking at\\nthe liead of our house, and stir your stumps a little more\\nlively, Scraps.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0015.jp2"}, "16": {"fulltext": "10 MY BROTHER S KEEPER.\\nScraps, Hey? Stir my stumps? O, no, can t do it,\\nFve got the gout with too high living. Ila, ha high\\nliving I think I ll retire, and live on my fortune ha,\\nha my fortune That s good that s exceedingly good.\\nBich. You re an old sinner, Scraps. Now Fve no\\ndoubt you have a snug sum stowed away in one of our\\nbanks.\\nScraps, Hey\\nBich, You ll cut up rich one of these days. In which\\nof our banks do you deposit\\nScraps, Cut up pranks, at my time of life no, no.\\nBich, (rises, crosses^ looks off^ R., then comes down R\u00c2\u00ab\\nof Scraps). Now, look here. Scraps you re not so deaf\\nas you appear. I happen to want a hundred dollars\\nLend it to me. I ll pay you ten per cent.; the banks\\nonly give you six. Let me have a loan\\nScraps, Hey? Let you alone? I can t hear, you\\nknow. You re on the wrong side.\\nBich, (angrily crosses to L., pushing Scraps hack as he\\npasses). Bah you old fool None so deaf as those who\\nwon t hear. (^Sits at desk,)\\nScraps (pointing L.). Is Mr. Benton in there, Mr.\\nGames\\nBich, Yes, he s in there, and very busy settling hia\\nlast year s business. Not to be disturbed.\\nScraps, O, he s a rich un, he is, and once he was\\nas mean and dirty a rag-picker as I am. We were\\nchummies then, we were ha, ha not very chummy now\\nnot very. He was a chap what saved his money\\nmine went as fast as it came. He took to books I\\ntook to billiards. He loved study I loved sport. And", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0016.jp2"}, "17": {"fulltext": "BiT brother s keeper. 1\\\\\\nBO the road iu which we picked parted ore day ha\\ncrawled up hill, and I down. Now he s a looking off\\nover his vast possessions from the top of the hill, and Tm\\npicking away in the mud, far, far below. Let thia be a\\nwarning to you, Mr. Carnes.\\nmch. Warning to me? What do you mejin?\\nScraps, O, you know what I mean. You re fond\\nof billiards, and theatres, and the tiger you know\\nyou are and I know it too, for I ve watched you many a\\nnight. Now Abel Benton don t like this. Here are you\\nand Mr. Matthew Allen, equally trusted. He delights\\nin books, you in billiards and depend upon it both of\\nthese, like everything else about here, will be weighed\\non Abel Benton s scales, and, when they do, billiards\\nwill kick the beam.\\nBich. You miserable street grubber, do you dare to\\nthreaten me Leave the room at once.\\nScraps. Yes, billiards is mighty captivating.\\nBich, {seizing a ruler and approaching Scraps, t ^o\\nlacks fo R.). Clear out, you croaking vagrant.\\nScraps. But it takes money, Mr. Carnes, it takes\\nmoney.\\nBich. Fool, take that (Baises the ruler. Enter\\nquickly J R., Matthew.)\\nMatthew (steps between^ and arrests Dick s arm). Easy,\\nDick, easy. Scraps head is not thick, and the ruler is\\nvery thin. Don t spoil either.\\nBich, Insolent old fool Were I master here, he\\nshould never show his ugly face in this place. Goes to\\ndesk^ L.)\\nMat, Then I m very glad you re not, Dick. Scrapi", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0017.jp2"}, "18": {"fulltext": "12 MY brother s keepkr.\\nis a very worthy old fellow. Since you and I have been\\nclerks for Mr. Benton, daily, winter and summer he haa\\ndropped in upon uf^, and I, for one, should miss him.\\nScraps. Thank you, Mr. Allen.\\nBich. O, you ve found your ears, have you.\\nScraps, I haven t but one, Mr. Games the other 8\\nstopped, and I m glad of it, for a poor old chap like me\\ngets many a hard word flung at him, that can t touch the\\nheart-strings when there s a closed door between. I m\\nmuch obliged to you, Mr. Allen. Mr. Games wanted\\nto put me out, but, bless you, I don t mind it. Fm never\\nput out, never and mark me, I shan t be the one put out\\nhere no, no. {Exit^ r.)\\nRich. The meddling old scamp\\nMat. Dick, you seem out of sorts to-day. What is\\nthe trouble between you and Scraps\\nRich. Nothing you can mend. Any news of the\\nElmyra\\nMat. She has just been telegraphed.\\nRich. Any private signals?\\nMat. Yes, English rags, full freight, consigned to\\nAbel Benton.\\nRich. Of course low market, high prices, and just\\nin the nick of time the Elmyra sails into Abel Ben-\\nton s pocket with a cargo of five thousand dollars in gold.\\nThe old scrub\\nMat. And who is old scrub\\nRich. The governor, the head centre, Abel Benton,\\nof course.\\nMat. Gently, Dick, gently. He deserves more re\u00c2\u00ab\\nspect. He has been a kind master to you and me.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0018.jp2"}, "19": {"fulltext": "MY BROTHER a KEEPER. 13\\nBich. Well, he ought to have made money enough\\ndj this time to retire and give us a chance. Now, here s\\nthe case of the Elmjra. Foi^ foretold a short market;\\nyou proposed sending an agent across the water. Your\\nadvice was taken it has proved a success yours was\\nthe veuture to you should come the profits.\\nMat. Dick, you are unreasonable. Listen that ship\\nsailing into port reminds me that seven years ago I stood\\non the deck of a vessel sailing into this same port. Com-\\ning to this country from old England, a lad of fourteen,\\nleaving behind me the fresh-tufted grave of my mother,\\nthe only protector I had in the world, my only companion\\nmy sister, four years younger. Dick, you have father\\nand mother, rich and powerful friends, everything about\\nyou comfortable and pleasant. You never knew what it\\nis to cry with hunger, to shiver with cold, as I did in\\nthe old country you never stood, as I stood then, on the\\ndeck of a vessel with not a cent in my pocket, knowing\\nnot what awaited me amid the domes and spires of the\\ncity we were nearing fast. If you had, Dick, if you had\\nsuffered all this, and then felt upon your shoulder the\\nhand which fell upon mine as I leaped ashore, looked\\ninto the kindly face that I looked into, you would straiu\\nevery faculty of your being to serve the interests of so\\nkind a benefactor as Abel Benton.\\nBich. Benefactor, indeed I tell you, Matt, you think\\ntop little of yourself. Benton is shrewd. Fve no doubt\\nhe read in your face, at first sight, the energy and spirit\\nby which he has profited. You ve given him hard work\\nfor every dollar expended.\\nMat, Then, there s my sister. He has been like a", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0019.jp2"}, "20": {"fulltext": "14 MY BROTHER S KEEPER.\\nfather to her. She is treated in his house as a daughter\\nevery wish gratified, almost spoiled by his indukeuce.\\nRich. Well, he doesn t spoil us by indulgence. His\\nold-fashioned notions put double work upon us. He\\nwon t have a safe, but requires one of us to sleep here\\nevery night. It s very lucky nothing has ever di sap-\\nappeared from the warehouse, for I believe he would dis-\\ncharge us on mere suspicion.\\nMat, He s an odd man, Dick, and no one can tell to\\nwhat his whims may lead but with clear consciences,\\nand determination to do our best, we need not fear hia\\nchangiog humors. {Sits at desJc^ r.)\\nCharley {outside^ R.), Old rags old rags {Enter R.)\\nHere you are, now, a prime lot, a little damaged by salt\\nwater. Who bids Going, going.\\nMat, Why, Charley, where did you come from?\\nChas, (takes handkerchief off his neck^ and wrings out\\nthe water). The bottom of the sea. The sea, the sea,\\nthe boundless sea. I m a river god, a mermaid,\\nCharley Benton as a live mermaid his first appearance\\non any stage.\\nMat, Come, Charley, be sober.\\nChas, Sober Do you know where I ve been I ve\\nbeen in the depths of sobriety at the bottom of the bay.\\nI can lead you to the spot where the flounders are thick-\\nest, tor I ve floundered among them where the smelts\\ncongregate, for I ve smelt em where the rock is in the\\ncradle of the deep, for I went straight for it red hot.\\nBich, You ve been overboard.\\nChas, Considering my present humid appearance,\\nthat was not a very remarkable guess.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0020.jp2"}, "21": {"fulltext": "MY brother s keeper. 15\\nMat And you are wet through.\\nChas, Thank you that s a very dry remark. Any\\nttiore interesting news?\\nMat. If you don t change your clothes at once you ll\\nbe laid up for a month.\\nChas. Thank you any fool could tell me that but\\ndon t trouble yourself I ve a dry suit in the loft.\\nMat, But what sent you overboard\\nChas, My love of business I was hurrying down\\nthe wharf to catch sight of the Elmyra, and somebody s\\nbeen shortening that wharf, for, before I knew it, I was\\nin the briny, and bound for the bottom.\\nBich. You lummux, walked overboard?\\nChas, Exactly; clamoring for help, which did not\\narrive until I d been down clamming at the bottom.\\nMa^, Well, run and change your clothes.\\nChatK My base ball uniform is up stairs, and if I can\\nkeep out of the governor s way, I m all right. Mum,\\nboys, for he s down on the manly sport. He knows noth-\\ning of the glories of the base ball field, and if he finds me\\nin that rig I shall catch it. {Exit, r.)\\nEich. Clumsy chap. Served him right.\\nMat. Hold on, Dick. There s the faintest shadow\\nof a mystery here. Charley may have accidentally walked\\noverboard, but he took precious good care to remove his\\nboots first. Did you notice They were as dry as mine.\\nYou ll find there is more in this than appears on the face\\nDf it.\\nBich, Matt, you re always finding excuses for him.\\nMai, Am I? Well, it s because he s a noble-hearted\\nfellow. If he s not a driving business man, it s because", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0021.jp2"}, "22": {"fulltext": "16 BIT BROTHER S KEEIER.\\nne has a rich father, and does not feel the need of exer-\\ntion. It s time Mr. Benton was informed of the arrival\\nof the Elmyra. Where awa}^ to-night, Dick?\\nRich. The usual round a little billiards, a peep into\\nthe theatres, and a good time generally. Will you go\\nwith me\\nMat No, I thank you, Dick. It s my night on guard\\nhere, and, besides, I don t fancy your sport. Ah, Dick,\\nit s a pity you re so fond of it. If Mr. Benton should get\\nan inkling of your predilections, twould go hard with you.\\nHave a care, old boy, have a care. {Exit, l.)\\nBich, (at desJc, l.). Have a care, indeed! Preach\\naway, parson. You fancy you are feathering your nest\\nby the remarkably moral life you lead. Bah With all\\nmy love for sport, I can hold my place in old Benton s\\nwarehouse. He trusts me as fully as he does you con-\\nfides to me as important business as he does to you. 1\\nhave the advantage in being the oldest, and shrewdness\\nenough to keep my pleasures from being noticed by the\\nhead centre. But I d like to see you, Matt Allen, taken\\ndown a peg, ^nd if ever I have the chance, you shall be\\nbrought to your level, depend upon it. Writes,)\\nEnter Scraps, cautiously, r.\\nScraps {aside), I ve been hunting everywhere for\\nMaster Charley. O, he s a sly one. Hullo there s Mr.\\nCarnes again. Ho, ho he d break my head, would he V\\nhe d turn me out, would he? We shall see. It s tim\u00c2\u00bb\\nAbel Benton knew the snake he is warming. O, I U\\nreward him for his kindness.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0022.jp2"}, "23": {"fulltext": "MY brother s keeper. 11\\nEiter Charley, r., in base ball dress, Snatthes the Saa*\\nketfrom Scraps, and covers his head with it.\\nScraps, Help murder help {Extricating himself\\nfrom basket,) Hallo, Master Charley Up to your old\\ntricks, hey\\nChas, Tricks, indeed I was only filling your basket\\nWith what it so much needs old rags, old rags.\\nScraps. Now now now you re a funny dog,\\nMaster Charley. But, my eyes, how fine you re rigged\\nGoing sojering, hey\\nChas. Sojering? No. This is the emblematic costume\\nof the Gooseneck Base Ball Club. Ain t it gay, red hot.\\nBich. Red hot It will be well warmed if the gov-\\nernor catches you.\\nChas, But I don t mean he shall. When he takes\\nthe field, I m out on the fly. Ah, Dick, you should\\njoin us. It s glorious sport.\\nBich. Bah it s so fatiguing and so dirty\\nChas. It may be for you, lily fingers. You d rather\\nspend your time in a smoky billiard room. But for me,\\ngive me the free air, the green field, strong, tough fellows\\nstriving for the mastery, every muscle alive with health,\\nsharp eyes, eager hands, quick legs, the strike, the run,\\nthe catch. O, it s glorious Hey, Scraps\\nScraps, O, yes. How much do you get for it?\\nChas. O, pshaw. Scraps don t be mercenary. Get\\nfame, glory. {Takes a small leather case from his pockety\\nand opens it,) Look at that. That s what we get for it\\nThere s a badge to be presented to Bob Dyke, our pitcher,\\nthis evening, as a slight token of the Goosenecks appre*", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0023.jp2"}, "24": {"fulltext": "18 MY brother s keeper.\\neiation of his valuable services. And I m to make tha\\npresentation speech. Ain t it gay?\\nScraps. Well, tis handsome. And you to make a\\nspeech? I declare, I should like to hear you make a\\nspeech,\\nChas. Would you? Then you shall. You shall be\\nthe pitcher, not exactly the figure, but you ll do for a re-\\nhearsal now. You stand there. {Places him in c, and\\njoes down, r.) Ahem ahem Renowned pitcher\\nScraps. Hey\\nChas. Now what s the matter with you\\nScraps. Why, you re on the wrong side.\\nChas. {crossing to L,). All right. I forgot the imped-\\nLnent. Now then. Renowned O, stand up; present\\na dignified aspect.\\nScraps. Hey? Me present. I thought you was a\\ngoing to do that.\\nChas. O, you re a muff. Stand up throw out your\\nchest. There, that s better. Now. Renowned pitcher\\nchampion of the ball field, model of muscular manliness\\nO, hold up your head, will you\\nScraps. How can I hear if I hold up my head\\nChas. Shut up Paragon of perfect proportions, po*\\nlitest of peripatetic pitchers, how much we owe thee\\nScraps. Not a cent. Mr. Games settled\\nChas. Shut up As we look back to the glorious\\nvictories achieved on Potter s field, we see thy noble form\\nanimated with a spirit bold and daring\\nScrap)s. Hey Spirits Pon my word I never drank\\na drop and as for swearing\\nChas, Shut up In tne front of battle, winning re*", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0024.jp2"}, "25": {"fulltext": "MY brother s KEEt ER. 19\\nnown for the Goosenecks. We would express our grati*\\ntude and it devolves upon me, the humble instrument\\nof our victorious nine, to present you this slight token of\\nour appreciation of your valuable services. Take it, prize\\nit for the giver s sake take it, wear it over your noble\\nheart. {Enter l., Mr. Benton, followed by Matthew\\nA;iEN.) Take it\\nMr. Benton (takes badge). Thank you, and once in\\nmy possession I shall preserve it depend upon that,\\nCharley Benton.\\nChas. {crosses to R.). The governor. Foul ball.\\nScraps. Is that all, Charley?\\n3Ir. B. So, sir, in spite of my repeated warnings, I\\nfind you tricked out in a garb I have forbidden, making\\n*i fool of yourself when you should be attending to busi-\\nness. Shame, shame, Charles I thought you were\\nmore of a man.\\nChas. Yes, sir, it s a mistake I I I know it s\\ntv^rong, but I tumbled overboard a while ago, and as I\\nnras very dry no, wet I\\nMr. B. Tumbled overboard?\\nChas. Yes, accidentally not on purpose walked\\noverboard.\\nScraps. Dou t you believe it, Abel Benton don t you\\nbelieve it. It s a lie a downright lie.\\nChas. Scraps, I ll break your head.\\nScraps. Hey? You re on the wrong side. O, I\\nknow him, Abel Benton, I know him, the smooth-tongued\\n\\\\illain, and I ll expose his wickedness too.\\nMr. B. Well, Job, what do you know?\\nScraps. I know all about it. It s the common alk", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0025.jp2"}, "26": {"fulltext": "20 MY brother s keeper.\\non the wharf and if I have but one ear that s wide\\nopen.\\nCJias. Scraps, if you saj another word\\nScraps. Hey O, you re on the wrong side. O,\\nhe s a deep one. An hour ago he was on the wharf\\nthis scoundrel. Walking coolly down the wharf. Just\\nbefore him was a little ragged, dirty girl\\nChas. Scraps, Scraps, your life s in danger.\\nScraps, Hey? You re on the wrong side. Creeping\\nalong, picking up chips, and this rogue, this scamp, close\\nbehind her. She reached the end of the wharf\\nChas. Scraps, another word, and I ll strike\\nScraps. Hey You re on the wrong side, I tell you.\\nHer foot slipped, and over she went and this villain,\\nthis cold-blooded villain\\nMr, B, Looked coolly on.\\nScraps. Cool, his boots were off in a second, and\\nover he went, seized the child, and held her head above\\nwater until they were both drawn out. Look at him\\nlook at the calm, cool, calculating villain. O, he s a\\ndeep one.\\nMr, B. Charles, is this true?\\nChas. I m sorry to say it is, sir.\\nMr. B. Sorry Charley, my boy, you re a noble\\nHem yes, sir, you have disobeyed my orders, and I shall\\nsee that you are punished. As for this trinket, I ll take\\ncare of it. (^Unlocks drawer in tahle^ c, deposits the case^\\nand then locks drawer.) Here it is safe, but you see it\\nno more. (Exit, l.)\\nChas. Out on the badge. Scraps, I ve a great mind\\nto pommel you.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0026.jp2"}, "27": {"fulltext": "MY brother s keeper. 21\\nMat No you won t, Charley, for he*s defended you.\\nGive me your hand. You re an honor to the house.\\nScraps, What did I tell you? Villany is alwayi\\nfound out, always.\\nChas. O, I ll be even with you. Scraps.\\nScraps, Hey You re on the wrong side.\\nChas, We ve had quite enough of your interference\\n80 go.\\nScraps. Yes, I ll go down on the wharf, and hunt up\\nmore of your crimes. O, you re a sly one deceive\\nyour father, hey walk overboard, hey Ha, ha you ll\\ncatch it. Ha, ha! (At door, r.) I say, Charley, red\\nhot, red hot (Exit, r.)\\n3Iat. Dick, here s Foley s invoice. You copy that,\\nand I ll take Dixon s. They must both go by next mail.\\n(Sits at desJc, R.)\\nBich. (at deslc, L.). All right, Matt.\\nChas, (sits on table, c). I saw it but a moment,\\nbut methinks I donH see it now. The renowned pitch-\\ner s badge has gone into the governor s drawer, and how\\nthe renowned pitcher is to get it, and how the subscriber\\nis to present it to the renowned pitcher, are questions of\\nvital importance, in fact, red hot. The governor won t\\ngive it up but I must have it.\\nRachel (outside, R.). Goodness gracious, I shall die,\\nI know I shall.\\nBetsey (outside, R.). Do behave yourself, Rachel\\nAllen. I declare, you mortify me to death.\\nRachel, Can t go another step. (Enters, r., with her\\namis full of bundles. She drops them in a heap on the\\nfioor^ B., and falls on her knees,) It s no nse. It s thai", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0027.jp2"}, "28": {"fulltext": "22 MT BROTHER^S KEEPER.\\nlast camel hai* shawl that broke this earners back.\\nWhy, hallo, Cliarley\\nGhas, And hallo, Shellie what s the matter\\nEnter Aunt Betsey, r., shaking her parasol at ait imagi\\nnary foe outside.\\nBetsey. Don t you look at me Don t you dare to\\nlook at me Mind your business, impudence.\\nChas. What s the matter. Aunt Betsey\\nBetsey. Do look at that impudent Go away, I say.\\nDon t stand gawking at me. S pose he never saw a\\nwoman afore. Jest like em they re all alike.\\nChas. {looking off, R.). Why, he isn t looking at you,\\nAunt Betsey.\\nBetsey. I tell you he is, I know he is. You can t\\nfool me.\\nChas. No, he s not looking at you, for the very good\\nreason that he s blind. It s only old Foley.\\nRachel, O, Aunt Betsey Ha, ha, ha what blind\\ndevotion\\nBetsey {sitting in chair r. of table). Well, I never!\\nRachel Allen, where s your dignity Get up from that\\nfloor directly.\\nChas. What s all this? Where have you been?\\nRachel. Been shopping and O, my, didn t we make\\na commotion There s nothing but bare shelves and\\nbare counters in every dry goods store from the Park to\\nthe Square.\\nBetsey. Goodness gracious hear that child talk.\\nAnd there s all my things a being ruined on this dirt/\\nfloor", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0028.jp2"}, "29": {"fulltext": "MY BROTUER S keeper. i^\\nChas. (picks tip hundlesy and places them on table),\\nVA^hose are these things?\\nEacliel, They re all mine, except the five largest\\nthose are Aunt Betsey s.\\nChas. And there s only six in the lot. That s a very\\nmodest way of letting me know that youVe been loaded\\ndown with Aunt Betsey s purchases. Why not have\\nthem sent home\\nBetsey, Young man, mind your business. When 1\\ngo shopping I mean to have just what I buy, and nothing\\nelse. Them air counter chaps air dreadful spry and\\nsmilin, but they can t deceive Betsey Benton. Never\\nChas. But, Aunt Betsey, tis too much for Shellie s\\nlittle arms.\\nBetsey, Young man, mind your business. When 1\\nwas a gal I had to work-, and I mean everybody round\\nme shall, if I can make work for em.\\nChas. Now look here. Aunt Betsey you and I will\\nhave a falling out one of these days, if you don t treat\\nShellie better.\\nBetsey. Highty-tity, young man Mind your busi\\nness. She ain t a goin to be brought up to a life of idle-\\nness, I tell you.\\nBachel. O, now, don t quarrel about me. Why,\\nthere s brother Matt. {Crosses r., and puts her hand\\non his shoulder.) Well, brother Money Grub, how s\\ntrade\\nMat. Ah, Sunshine The Elmjra s come. Trade\\nis looking up.\\nBachel. O, I m so glad. I wish I was a man. L\\nmust be so grand to make money.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0029.jp2"}, "30": {"fulltext": "^4 HT BROTHER S KEEPEK.\\nChas, Why, you re avaricious, Shellie.\\nRachel. No, I m not, Charley. I want the inone^\\nV* lib which to buy richer treasures the poor man s\\nLlessin/ and the sufferer s smile.\\nj^iai. Ah, Shellie, if we could only thipk sc after we\\nacquire riches But where have you been\\nllachel. Been shopping and, don t you think, Aunt\\nBetsey was nearly run over. O, such fun\\nBetsey. Fun fun Well, I never I m most dead\\nwith fright, and that young one calls it fun\\nRachel, Yes, we were just crossing the main street,\\nwhen somebody called out, Look out, there And of\\ncourse we looked out, and there was a running horse\\nalmost upon us. I gave one leap and landed on the side-\\nwalk, but Aunt Betsey she just stood in the street, and\\nflourished her parasol, when a ragged individual rushed\\nbetween her and the horse, caught her up in his arms,\\nand placed her on the sidewalk. O, she did look so\\nfunny, with h6r arms flying about like a windmill, and\\nscreaming like a locomotive.\\nBetsey. Well, I never And you stood en the side-\\nwalk and laughed absolutely laughed. I never was so\\nmortified in my life.\\nRachel. Ha, ha, ha I couldn t help it, you did look\\n80 in the arms of your preserver.\\nBetsey. Rachel Allen, I m petrified Where on airth\\n18 your dignity\\nMat. Twas a very serious matter. And who waa\\nthe brave man who rescued you\\nBetsey. How should I know? While I was looking\\nfor a dollar to give him, he slipped off.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0030.jp2"}, "31": {"fulltext": "MY brother s keeper. 25\\nChas, I should think he would. A dollar for saving\\nyour life. {Aside,) O, it s too much.\\nBetsey. Where s your father\\nChas. In his office, Aunt Betsey.\\nBetsey. Well, Rachel, you pick up the bundles. Fll\\njust speak to him, and then we must be getting home,\\n{Exit, L.)\\nRachel. Why, how queer you re dressed, Charley 1\\nIs that your working suit?\\nChas. Well, no yes, it is one of my working suits.\\nEachel. What does the letter G stand for?\\nEich. Stands for Goose, Shellie.\\nBachel. Ha, ha, ha How very appropriate\\nMat. Tis very appropriate, Shellie, but it doesn t\\nstand for goose. It s the initial of Great, and, placed\\nwhere it now is, it fitly represents the great heart beneath it.\\nCharley wears that dress at this time, Shellie, because he\\nhas just saved a little girl from drowning at the risk of\\nhis own life.\\nRachel. That s just like him. He s always doing\\nsomething brave. {Goes up and takes his hand.) O,\\nCharley, I shall love you just as long as I live.\\nChas. Will you, though, Shellie? Then let me teU\\nyou that I shall ask that I am that you are\\nRachel. Wh^, what s the matter, Charley?\\nChas. Well I was going to say that I that I\\nam\\nEnter Betsey, l.\\nBetsey. Now, Rachel, get your bundles, and we ll go.\\nChas. Once for all. Aunt Betsey, I tell you I will i i\\nhave it. She shall not carry those bundles.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0031.jp2"}, "32": {"fulltext": "26 MY brother s keeper.\\nBetsey I say she shall. Toung man, mind your busi-\\nness.\\nChas. So I will and it s mj business to relieve the\\nweaker sp.x of their cares when I can. I ll just take pos-\\nsession of the bundles, and bring them up to-night.\\nBetsey. Young man, I insist\\nChas, Now, look here, Aunt Betsey don t get me\\nmad for when I get angry I always run and jump off the\\nwharf and I don t go alone.\\nBetsey. Good gracious Do you mean to say you\\nwould throw me overboard\\nChas. I m afraid I should if I got mad.\\nBetsey. Come, Rachel, let s go. That youth is on\\nthe broad road going to destruction. Come. (^Exit^ R.)\\nRachel. Good by. I m coming back with Grace when\\nshe comes for her father. O, Charley, for shame\\nThreatening to throw Aunt Betsey overboard (Exit, r.)\\nChas. Of all the aggravating creatures, Aunt Betsey\\nis a little ahead. Why don t she get married? She s\\nold enough. She s no earthly use in our house, except\\nto fret and worry, and interfere in all my little arrange-\\nments. {Enter Scraps, r.) Hullo you back again?\\nScraps. Hey? yes. I ve a little business with yout\\nfather. I say. Master Charley, who s that lady I just\\nmet?\\nChas. Lady? The young one or the old one\\nScraps. The tall, fine-looking lady. {Pointing^ R.)\\nThere, that one.\\nChas. Fine looking! {Aside.) Scraps is smitten.\\n(Aloud.) That s Aunt Betsey, father s sister. Did you\\never see her before", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0032.jp2"}, "33": {"fulltext": "ITT brother s keeper. 27\\nScraps. Hey No yes yes once.\\nChas. You did! Where?\\nScraps, Now, now, Charley, none of that You re on\\nthe wrong side.\\nChas, (aside). He s smitten, red hot! By Jove, ed\\nidea. Scraps is rich. Why can t I make a match be-\\ntween them? Dress him up, and start him courting\\nAunt Betsey. That s one way to get rid of her. {Aloud,)\\nAh, Scraps, you sly dog, I thought you d met before.\\nShe often speaks of you.\\nScraps. Often speaks of me\\nChas. Yes, thinks you are not what you seem. No-\\nbility beneath the ragged covering, soul shines through\\nhis shaggy eyebrows, and all that sort of thing. 0, she s\\nromantic.\\nScraps, Often speaks of me Well, that s singular.\\nChas. Now s your chance, Scraps. Dress up put\\non a bold air you ve got the money. Woo her as\\nthe lion woos his bride and she ll fall into your arms.\\nScraps. Yes. Well, I ll think about it; I ll think\\nabout it\\nEnter Mr. Benton, l.\\nMr. B. This note, Richard, must be in Captain Bax\u00c2\u00ab\\nter s bunds at once.\\nRich. Yes, sir. I ll despatch a messenger immedi\\nately. {Exit^ r.)\\nMr. B. Matthew, the Spooner Mills are short of\\nBtoek. We can get our own price for the Elmyra s\\ncargo.\\nMat. Then I d better run up in the morning.\\nMr. B. I think you had. Take the first train. You", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0033.jp2"}, "34": {"fulltext": "?8 MY BROTHER^S KEEPER.\\n?an return in the evening. By the way, who sleeps hckr*\\nto-night\\nMat. Tis my watch, sir.\\nMr. B. That s bad. You cannot catch the earl^\\ntrain.\\nMat. O, yes, if Charley can come down at six.\\nMr. B. No I ll relieve you myself.\\nMat. All right, sir I ll make my arrangements ac\\n)50rdingly. {Exit^ R.)\\nMr. B. Charles, go into my office. I ve a few words\\nfor you.\\nGhas. Yes, sir. {Aside.) Words that burn red\\nnot {Exit^ L.)\\nMr. B. Well, Job, old friend, how wags the world\\nwith you?\\nScraps. Hey O, well, Abel well. I pick up\\nenough to keep soul and body together, and now and then\\na dollar for a rainy day.\\nMr. B. Why will you persist in this vagabond life?\\nYou would be a valuable man to me in the warehouse.\\nI have often urged you to take a place here.\\nScraps. I know it, Abel but I like to be my own\\nmaster. Here I should be cramped. Regular hours and\\nregular work Not for me, Abel not for me.\\nMr. B. I don t like to see an old friend creeping\\nabout the streets, picking rags from the gutter like a\\nvagrant. Look at me. The old life is almost blotted\\nout of memory. I have made my way to a respectable\\nposition, while you, who started in life with me, still\\ncling to the old existence. It s too bad. Job.\\nScraps. No, Abel, not too bad, for it s the life I love,", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0034.jp2"}, "35": {"fulltext": "MY BROTHER S KEEPER. 29\\nYou were ambitious to rise in the world to get money.\\nYou have been successful, and jour old friend rejoices in\\nyour prosperity. But all your wealth requires much\\ncare. You are anxious, uneasy. There are hard lines\\nin your face. The failure of one of your speculations\\nwould go near to break your heart. While I manage to\\nscrape, here a litile, and there a little, roam about,\\nlook and laugh at the follies of the world, watch the\\nstruggles and triumphs of busy men, and speculate, with-\\nout risk, on the rise and fall of stocks.\\nJ/r. B^ That s very ragged philosophy, Job.\\nScraps, Hey Philosophy No, that s freedom, and\\nfreedom gives one so much time for observation to ac-\\nquire knowledge. Why, Abel, I know more about your\\nbusiness than you do. With all your wealth, you are at\\nthe mercy of your clerks.\\n3Ir, B, My clerks are models of industry, energy,\\nand honesty.\\nScraps. All of them?\\nMr, B, Yes I would not have in my employ one hour\\na young man whom I could not trust fully.\\nScraps, Blind, Abel, blind. I know better. I ve\\nseen one of your clerks at the gaming-table night after\\nnight. I have seen him enter places where no honest\\nman should go. I have seen this, Abel. I m a little dull\\nof ear. but I ve a sharp eye.\\nMi\\\\ B, One of my clerks. Job? Which one?\\nScraps. Hey Xow, you re on the wrong side.\\nAbel Benton, find out yourself. I will watch, but you\\nmust trap the game.\\nMr. B, Is it my son I tremble while I ask it", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0035.jp2"}, "36": {"fulltext": "80 MY brother s keeper.\\nScraps. What, Charley? No, no he s the soul of\\nhonor.\\nMr. B. Is it\\nScraps. No, no fair play, Abel. I ve set you on the\\ntrack. I shall do no more.\\nMr. B. Very well, I will watch, and if I have the\\nfaintest suspicion I will act. My clerks Job, if I did\\nnot know you so well, I should doubt you, and not them.\\nScraps. O, I m all right. Now for a little busiuess.\\nI had a scare last night, Abel. Somebody broke into my\\nroom, seized me by the throat, and demanded money\\nbut I had strength enough to throw him off, and rouse my\\nneighbors. He escaped my money was safe but it\\nmust be put in a safer place. {Produces small hag.)\\nHere is a hundred dollars, all in gold. You, Abel, must\\ntake care of it.\\nMr. B. Certainly. (Takes hag goes to tahle, c.^ sits\\nand writes.) 1 shall not count it your word is enough.\\nIt shall be well taken care of. Here s your receipt.\\n(^Gives receipt.) The money shall go in here. {Opens\\nthe drawer in tahle where he has placed the hadge^ and\\nlocks it.)\\nScraps. What Leave my money there after what I\\ntold you\\nMr. B. For that very reason. You have directed\\nsuspicion to one of my clerks. Your money should be\\nthe bait to catch the rogue. Hush No more. Here is\\nmy daughter.\\nUnter Grace, r.\\nGrace (p.). Good afternoon, father. Are you ready\\nto escort me home", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0036.jp2"}, "37": {"fulltext": "MY brother s keeper. 31\\nMr, B, (l.). In a few moments, Grace. This is an\\nold friend of mine, Job Layton.\\nGrace, One I have longed to see. {Crosses to Scraps,\\nR., and takes his hand. Scraps confused,) My father\\noften speaks of yon, his old friend. Why don t you come\\nand see us You shall be heartily welcome, and I will\\ndo my best to entertain you.\\nScraps, Lord bless you, pretty one, your father and I\\nparted company years ago he to go up, I to stick in\\nthe mud. I go to your house? Why, your servants\\nwould slam the door in my face.\\nGrace, No, no, Mr. Layton, nobody is driven from\\nour door. There s an easy-chair waiting for you, and if\\nyou will come you shall find yourself with true friends.\\nNow promise me you will come.\\nScraps. Yes, yes, some time I will come. {Turns to\\ndoor^ R.) Good by, {Aside.) She s a darling. Ah,\\nAbel may well be proud of such a daughter. And I, I\\nmight have had a daughter to hang about my neck, to\\nbrighten my home, instead of being a lonely, ragged\\nscavenger. O, Job, Job, I begin to doubt you. Freedom\\nis all very well, but the chain which a loving child throws\\nabout a father makes slavery worth enduring. Bah,\\nJob You a philosopher More likely an old fool an\\nold fool. {Exit^ R.)\\nMr, B, Grace, if that man survives me, look to it that\\nhe never suffers. When I was poor he was my best\\nfriend. Many a time in our rag-picking days he has\\nrobbed his basket to fill mine. Under that old coat there s\\na true heart. He must never suffer.\\nGrace, Never, if I can lielp it, father. Charley is\\nvery fond of him. Where is Cliarley, father?", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0037.jp2"}, "38": {"fulltext": "52 MY brother s keeper.\\nMr. B, In disgrace. Waiting in my room for the leo\\nture he so richly deserves.\\nGrace, Why, what has he been doing\\nMr. B. Jumping overboard to save a drowning child,\\nI could forgive that, but he s rigged himself in that out-\\nlawed sporting suit, for which he shall be well lectured.\\nEnter Dick, r.\\nRich. Good afternoon. Miss Benton. {Bows^ and\\ncrosses to desJcy l.)\\nGrace. Good afternoon, Mr. Games.\\nEnter Matthew, r.\\nMat. Ah, Miss Grace You are early.\\nGrace. Matthew, I m glad to meet you. (Shakes\\nhands with him.) Yes, I ve come to carry father off.\\nEnter Rachel, r.\\nRachel. There, I ve torn my dress with one of those\\ndirty bales. I declare, I can t see the use of having so\\nmany rags about.\\nMr. B. To turn into money, Shellie.\\nRachel. Hallo, Uncle Abe Out of your den Come,\\nget your hat. We ve come to lead you home.\\nMr. B. I ll be ready soon. By the by, young gentle-\\nmen, I have placed a hundred dollars in geld in the upper\\ndrawer of that table for safe keeping. It belongs to Job\\nLayton.\\nMat. A hundred dollars Isn t that an unsafe place\\nfor so large a sum\\nMr. B. Not while I have honest clerks. I shall b\u00c2\u00ab", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0038.jp2"}, "39": {"fulltext": "MT brother s keeper. 35\\nrery glad to see you at my home tomorrow evening.\\nYo\\\\i will returu in ample time, Matthew. You will meet\\nthere my partner.\\nAIL Your partner\\nMr. B. Yes, I am getting old, and h^ve decided to\\ntake a partner a young and active man. You will\\nhave an opportunity to make liis acquaintance before he\\nenters upon his duties. {Exit^ l.)\\nGrace. Now he s going to scold Charley. But not\\nif I can help it. I ve prevented it before, and Fll try it\\nagain. {Exit^ L.)\\nMat, {sits at his desk), A partner! A young and\\nactive man Who can it be\\nBachel (comes down and leans over his chair). What s\\nthe matter, brother?\\nMat. Thinking, Sunshine, thinking. We must all do\\nthat, you know.\\nRachel, Well, then, tell me your thoughts. Mj\\nbrother should have no secrets from his keeper. That s\\nthe bargain, Matthew.\\nMat. A new master is to step in here, Shellie\\nhere, where, for seven years, we have worked so well\\ntogether the old master and his clerks. A man with\\nnew ideas, perhaps tyrannical, to upset the old smooth\\norder of things. What says my keeper to that?\\nRachel. She says. Think on, brother. Think of the\\ngood old man who laid his hand on your shoulder so\\nkindly when you were a stranger in a strange land\\nwho has been your steadfast friend from that hour to\\nthis, and say, Let new masters come while the old\\nmaster lives I have faith that he will never desert me.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0039.jp2"}, "40": {"fulltext": "84 MY brother s keeper.\\n3IaL Right, my keeper, right. Do what he may,\\nI will believe he loves and trusts me.\\nEnter Charley, l.\\nCJias, Well, I m out on that. After roosting on a\\nhigh stool for nearly half an hour, anxiously expecting\\na storm, that dear sister of mine drops in just as the\\nclouds begin to gather, and all s sunshine. Hallo, Shel-\\nlie You here again\\nBachel, Yes, Charley. Come, pick up the bundles,\\nand start the caravan.\\nChas, But we must wait for Grace.\\nRachel, Then let s take a stroll do^vn the wharf. I\\nwant to see the place where you walked overboard.\\nChas, Yes, where I put my foot in it. I can lead\\nyou to it. It s a delightful spot, so cool and retired.\\nCome along. {Exeunt Chas, and Rachel^ r.)\\nRich. Well, Matt.\\nMat. Well, Dick.\\nRich. What are you going to do about it the new\\npartner\\nMat. Accept the new order of things, and work as\\ndiligently as ever.\\nRich. Matt Allen, you re a fool There should be\\nno partner in this concern except you or me. The head\\ncentre cannot want capital. Perhaps this is a surprise\\nfor one of us.\\nMaf. Surprise? That s not his way of doing busi-\\nness, Dick. Think of our staid, sober old master per-\\npetrating a joke I couldn t imagine it. No, it s an\\noutsider, who, I cannot guess.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0040.jp2"}, "41": {"fulltext": "MY BROTHERS KEEPER. 05\\nRich, I have a strong suspicion, Mat, that jou\\nare the man. You have a strong friend beside the\\nthrone.\\nMat. A strong friend? Who do you mean?\\nRich. Grace Benton. It needs no very sharp eye?\\nto see that she looks upon you with favor. Always a\\nsmile, a pleasant word, for you. She listens as though\\nyou were an oracle when you speak, and blushes when\\nyour step is heard. All sure signs. Don t be a fool,\\nMat. She s a rich catch. Be bold, and she is yours.\\nMat, (rising^ indignantly^. Silence, Dick Games!\\nAnother word and I shall forget that we are friends,\\nand chastise you for your insolence. Do you think me\\nso base as to take advantage of the kindness that seeks\\nto make me forget my humble position? so mean as\\nto betray the trust reposed in me by my employer?\\nGrace Benton is too high fn social position for me to\\ndare approach her as a suppliant for her hand or heart.\\nDick, I believe I am an honest man. I look upon a for-\\ntune-hunter as no better than a thief snatching at the\\ntreasures of another and rather than have this imputa-\\ntion cast at me I d leave this place forever.\\nRich. But, Mat, if she loves\\nMat, Silence Another word and w^e are enemies.\\n{Sits^ R.)\\nRich, {aside). High and mighty! Chastise me for\\nmy insolence Well, two can play at that game. An\\nhonest man, indeed He s too honest. He has no sus-\\npicion that the new partner is himself. I have. And\\nhe s to step above me. I d like to thwart the head cen^\\nIre. If he could be made to suspect Mat! But howi", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0041.jp2"}, "42": {"fulltext": "86 MT brother s keeper.\\nAh, the drawer Scraps s hundred dollars The head\\ncentre has the key, but it s not the only key that opens.\\nThe key of Mat s desk fits that lock. I know, for I ve\\ntried it. It s his watch to-night. I ve an idea. {Bisesj\\nputs on his hat^ and crosses^ r.) Mat, don t get angry.\\nYou deserve the partnership, and you deserve the girl.\\nIt s a pity you can t have both. Good night. (^Aside^ at\\ndoor, R.) An honest man I ve known a fortune to be\\nlost in a single night, and why not a character. Mat\\nAllen, this night I ll play for yours. {Exit^ r.)\\nMat, She looks upon me with favor. She, the bright\\nbeing that I have worshipped afar off, as men look upon\\ntreasures far beyond their reach. What could he mean\\nHave I betrayed myself? Does he know how madly I\\nlove her No, no never by word, look, or act have I\\nbetrayed my secret. Ah, Grace, Grace glorious, unat-\\ntainable the idol of a cultivated circle, with a throng of\\nadmirers about you, your fortune is a safeguard against\\nthe approach of the humble worshipper (Grace enters^\\nadvances across stage, and leans on his chair, listening)\\nwho would die to show his devotion. Year by year this\\nlove has grown upon me, and now tis almost too strong\\nto prison in my heart. But I will be strong. I know\\ntis an honest love, that could boldly speak were all the\\nbarriers of wealth and station removed. But this can\\nnever be so to my heart alone, as to a sacred shrine,\\nI ll go to worship you, my glorious Grace.\\nGrace. Dreaming the happy hours away, Matthew?\\nMat, (rises in confusion) What Grace why\\nhow what I beg your pardon. Did you speak\\nGrace. Why, bless me, Matthew, what s the matter!", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0042.jp2"}, "43": {"fulltext": "MT brother s keeper. 37\\nHave I interrupted some desperate plot, or some dream\\nof love? You really look frightened.\\nMat. Do I Well, it s very natural. No, I don t\\nmean that. Does your father want me?\\nGrace, No but I do. Now, compose yourself, and\\nwe will talk business. Do you know what day to-mor-\\nrow is\\nMat. Why, it s Wednesday isn t it\\nGrace. Isn t it What a bright business man. To*\\nmorrow is the anniversary of a very important event.\\nMat. Your birthday?\\nGrace. O, that s not important. To-morrow is the\\nanniversary of the entrance of Matthew Allen into busi-\\nness life.\\nMat. And you remember this\\nGrace. Indeed I do, for twas the beginning of a very\\nhappy life for all of us. Twas then I formed a dear\\nfriendship, which has continued until this day.\\nMat. Ah, Grace, it is so kind of you to say it, you,\\nwho are so exalted in society, to confess friendship for a\\npoor man.\\nGrace. Poor man I confess no such thing. The\\nfriendship, I admit, is with a brave fellow, who has bat-\\ntled night and day to serve the man who once befriended\\nhim rich in honest worth, noble in every manly accom-\\nplishment a man Avith a strong arm and a quick brain,\\nwho has the right to seek and claim the highest station,\\nyr woo and win the highest lady in the land.\\nMat. Grace, Grace This to me\\nGrace. To you, Matthew, for you are the man. To-\\nmorrow my father makes choice of a partner. Who it is", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0043.jp2"}, "44": {"fulltext": "88 MT brother s keeper.\\nI do not know. He has kept his secret even from me^\\nI know not what changes may be made, but you, Mat*\\nthew, must leave this place.\\nMat, I leave this place You know not what you\\nsay. I cannot do it.\\nGrace. Not do it? Why not?\\n3Iat. Because I love you, Grace. I have hidden it\\nBO deep that I thought twould never escape me. But I\\nmust speak. I love you, Grace, dearly, madly, I knoWc\\nLet me stay here. I will still be diligent in business.\\nI care not who may come to lord it here only let me be\\nnear you.\\nGrace. No, Matthew, you must go. Do you think\\nI will allow you, my friend, to be supplanted in this place\\nby a stranger. No, Matthew, you have energy and tal-\\nent. Build for yourself. Imitate the example of your\\nmaster, and take a partner.\\nMat. A partner, Grace You know not what you\\nsay. Where could I find a partner with capital, for that\\nis what I should need?\\nGrace. O, I ll find one for you, never fear one who\\nwill join you in any enterprise strong, brave, true.\\nMat. Where will you find me such a partner?\\nGrace. Here, Matthew, here, with a capital of ear-\\nnest, true love. I will be your partner.\\nMat. Am I dreaming? You, Grace, you?\\nGrace. Yes, I the woman you have loved so long.\\nAh, Matthew we cannot hide it. Try all we may, it\\nspeaks in the flush of the cheek, the gleam of the eye,\\nthe trembling speech. You have told me that you loved\\n\\\\ae, and I I Well, I am your partner, you know,\\nMatthew.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0044.jp2"}, "45": {"fulltext": "MT brother s keeper. 3S\\nMat Dear, dear Grace My partner for life?\\nOr ace. For life, Matthew.\\nMat. Then on this hand\\nGrace. No, no, Matthew. The head of the ne\\\\f\\nhouse should have higher aspirations.\\nMaU Grace, you re an angel {^PuU his arm about\\nIter waist and kisses her lips. Erder^ L., Benton, with\\nhis hat and cane; R., Charley and Rachel. Grace\\nand Matthew separate, look downy confused.)\\nMr. B. {aside). So, so signed, sealed, and deliv-\\nered. Good, good.\\nRachel. It s a match, Charley. Did you hear that\\nsmack\\nChas. Do you think I m deaf. Twas red hot.\\nShellie, red hot I\\nCURTAIN.\\nAct 2. Scene. Same as in Act 1. Dark. Candls\\nburning on table, c. Matthew seated at l. of it, his\\nhand on Rachel s shoulder. She sits on a box at his\\nfeety her arm resting upon his knee.\\nMat. And so, Shellie, you have stolen away from\\nyour cheerful home, with me to keep vigil in this gloomy\\nplace.\\nRachel. Yes, brother. Uncle Abe was busy at hia\\nbooks, Charley had gone out, and Aunt Betsey was nod-\\niliug over her knitting, so I just put on my hat and shawl,\\n\u00c2\u00abcanipeiea off, and here I am, to spend an hour with\\nyou.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0045.jp2"}, "46": {"fulltext": "40 MY brother s keeper.\\nMat Ever thoughtful, Sunshine. Yon well knew\\nyour bright face would light up the old countiag-room, aa\\nit has every dark scene in my life. Ah, sister mine, how\\ndreary the last seven years would have been without you\\nto comfort and console.\\nBachel. Seven years Why so it is, and to-mcrrow,\\nto-morrow is the day we celebrate. I declare, I d almost\\nforgotten it. It seems but yesterday that we stood be-\\nside the death-bed of our mother. Poor mother! ho^\\nshe must rejoice at our prosperity, for I feel her presence\\nalways.\\nMat. Yes, sister ever near us. Dark was the life\\njourney of the best of mothers. Heaven guard us from\\nthought or act that might disturb her peace or sully the\\nbrightness of her pure spirit.\\nRachel. Amen to that, brother. Dear mother Can\\nI ever forget her last night upon earth. I was alone\\nwith her. She called me to her. The light fast fading\\nfrom her eyes, her face white as the pillow on which she\\nrested, her thin, white hand feebly sought to grasp\\nmine but still the sweet, patient smile was there.\\nShellie, she said, dear, dear mother! I am\\ngoing going to sleep. No more toil, no more trouble\\nfor me. Twill be a long, refreshing sleep. I must not\\nrepine, yet tis hard to leave you to battle with the world.\\nAnd the other, my boy, your brother, O, Shellie,\\ntemptations will be around him. He must work for you\\nboth. Let him always feel the sunshine of a sister s love.\\nBe his helper, his counsellor, his keeper. Sacrifice the\\ndearest wish of your heart, if you can save him from\\nthe cold world s cruel snares. Dear, dear mother f\\nWeeps.)", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0046.jp2"}, "47": {"fulltext": "MY BROTHER S KEEPER. 4l\\nMat. Nay, nay, sister, do not weep. She is an angel\\nnow. Nobly have you fulfilled her last request. Ever\\nnear me, ever thoughtful of my comfort, ever consoler of\\nmy dark hours, how much I owe to you. Ah, Sunshine,\\n*tis the strong arm that clears the path, but tis tlie gentle\\nhand that points the way, revives the failing strength,\\nand heals the stinging wounds. You have indeed been\\nmy keeper. Now dry your eyes, for I want your advice.\\nYou know we are to have no secrets from each other.\\nBachel, That s the compact. Have you a secret?\\nMat. Yes, indeed an important one. I m in love.\\nEachel. O, that s no secret.\\nMat. Indeed, sharp eyes Well, I ve another, then.\\nI m engaged. Wish me joy, sister. Grace Benton, the\\nrich, beautiful, charming Grace Benton, has promised to\\nbe my wife.\\nRachel. Well, I declare And I suppose you want\\nmy consent.\\nMat. Your consent?\\nRachel. Certainly, sir. Am I not your guardian?\\nVery well, sir you shall have it. Bring her to me, and\\nI will place my hand on your heads, and bless you, my\\nchildren, in the most approved manner. 0, I m so glad\\nBut, stop she has a father.\\nMat. I am aware of that. Now what shall I do?\\nGo to him, confess my love, and ask his consent, or run\\naway with her?\\nRachel. Both, of course that is, one at a time.\\nAsk his consent. If he declines the honor of an alliance,\\nelope. {Knock outside^ r.) Good gracious 1 What a\\nthat?", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0047.jp2"}, "48": {"fulltext": "Ia my brother s keeper.\\n3Iat, It sounded verv much like a knock. Perhapi\\na message perhaps some one for you. {Knock repeated,)\\nAt any rate, I ll soon find out. {Rises takes the candle,)\\nKeep quiet, Sunshine. I ll be back in a minute. {Exit^ r.)\\nRachel {sits in chair l. of table). No secrets from each\\nother, and I haven t told him mine. Come here on pur-\\npose too. For I m in love engaged. Charley Bentoo\\nhas promised to be my wife no, my husband. Shall I\\nask his father s consent, or run away with him. Dear\\nCharley he s such a queer fellow. I wonder if a young\\nlady ever had a proposal from a man with his arms full\\nof dry goods before. It all happened as we were going\\nhome to-night. Shellie, said he, dear Shellie\\nA.nd then he squeez 5d my arm, and dropped a bundle.\\nPlague take these bundles. Shellie, I love you\\nAnother squeeze, and away went another bundle. I\\nthought I should have died with laughter.\\nEnter Matthew, r.\\nMat, {places candle on ta.hle), A note for me, Shellie.\\nRachel, A note From whom\\n3Iat, That s just what I m going to find out. (^Opens\\nnote,) Hallo from Charley\\nRachel, From Charley Benton?\\nMat. Yes. {Reads.) Dear Mat I m in trouble.\\nIf you don t want me locked up for the night, come to\\nMurphy s billiard-hall and rescue the subscriber, Charley\\nBenton. What does this mean\\nRachel. Charley in trouble? O, Mat, go at once\\nMat. I cannot, Shellie. T would cost me my situa-\\niion. I am placed here in trust. Mr. Benton would", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0048.jp2"}, "49": {"fulltext": "MT brother s keeper. 4S\\noever forgive me should I desert my post. Foolish fel-\\niovv he s always getting into a scrape.\\nBachel, You must get him out of this. Think, Mat,\\ntis his own son. He must not be locked up.\\nMat. I dare not go, Shellie. To leave this place\\nwould be ruin to me.\\nBacJiel. To be locked up in a cell would be ruin to\\nhim. Think of the disgrace. O, for my sake, brother,\\ndo go.\\nMat Your sake, Shellie?\\nBachel. Yes, mine. I am his promised wife.\\nMat. Shellie And you have kept this from me\\nRachel. I came here to-night to tell you but your\\nhappiness, of course, took precedence, and I must wait\\nto tell mine. You will save him won t you. Mat?\\nMat. But there s no one to leave here.\\nRachel. Yes, I am here, and you know I m a famous\\nkeeper. I ll guard everything while you re away. Now\\ngo, that s a good brother. Here s your hat. {Gives him\\nhat.)\\nMat. Well, I ll go, Shellie, for your sake. I don t\\nlike to leave you here alone. Keep quiet, and do not\\nleave the room. {Exit, r.)\\nRachel {sits l. of table. Speaks slowly). Charley in\\ntrouble Won t I pull his ears for him What can he\\nhave done Nothing wrong. He s such a rash fellow\\nWhat s that? How lonesome it is here What can I\\ndo to amuse myself? {Takes hook from table,) Promis-\\nsory Notes, that s not very promising reading. {Takes\\nup wiother.) Bills Payable, O, that won t pay.\\nWhat s that? There s somebody at the door. I hear a", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0049.jp2"}, "50": {"fulltext": "44 MY brother s keeper.\\nkey in the lock. Can Mat have returned so s3oq?\\nHark Steps and coming tiiis way Tis not his\\ntread tis stealthy^ creeping What shal^ I do It\\nmay be a burglar. O, heavens I ll blow out the light.\\nS^Blows cut light.) Who can it be? 0, I wish Mat\\nwas here What will become of me I m shivering\\nwith fear. Let me hide somewhere. {Grouches at end of\\nlounge^ L.) Nearer, nearer I can hear my heart beat.\\nEnter Richard, stealthily, r.\\nRich. So, so I ve tricked the faithful watchman.\\nThe bait took, and he s off on a bootless, errand. Well\\nplanned, my boy. Now for the key. Creeps to desh^ r.)\\nRachel. Somebody s creeping about the room!\\nHeaven protect me\\nRich, (takes hey from loch) All right. Now for the\\ngold. {Passes to tahle^ c.) Here s the drawer. The\\nkey fits. Open sesame! (Opens drawer.) Here s\\nScraps shiners. (Tahes out hag^ lochs drawer^ creeps\\nhack to desh^ r., and places hey as hefore,) Successful\\nburglary The gold is in my possession. Mat Allen\\nwill be suspected, and the partnership blown sky high for\\nthe present. (At door, r.) I must be off. He ll see\\nthe trick, and be back but too late, too late The\\ntreasure s flown. (Exit, R.)\\nRachel (comes forward). Gone I Twas a burglar.\\nThe drawer has been robbed, robbed in Mat s absence,\\nand I, who should have protected it with my life,\\nfikulked in a corner like a coward. What shall I do?\\nO, brother, did I counsel you wrong? I ll pursue him\\nUntil Jielp appears, then have him secured. Yes, tis tho", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0050.jp2"}, "51": {"fulltext": "MY brother s keeper. 45\\nonly course left. (Creeps to door, r.) Hark! Gra-\\ncious heavens, he is returning for more booty Shall I\\nraise an alarm? No, no who could hear me? Twould\\nbe but the signal for my own destruction. O, Mat, Mat^\\nwhy don t you come? (Creeps back to hiding-place, L.)\\nEnter Charley, r., with arms outstretched. Walki\\nagainst table, c.\\nChas. O, crackee (Creeps down, r. Walks against\\ndesk, R.) 0, Gemini Well, this is a hard road to\\ntravel I never could have believed it, never. Our Mat\\ndeserting his post for it must have been him I saw\\nIsaving the warehouse. Now where can he have gone?\\nIt s very lucky I had my key, or my little plot to secure\\nthe pitcher s badge would have been a dead failure.\\nAh, ha, my good father, I do hate to thwart your plans,\\nbut what s a fellow to do that has to present a badge,\\nand has no badge to present? So I m going to avail\\nmyself of your key, which I quite accidentally found in\\nyour pocket, to open your drawer and secure the bajdge.\\nI wish Mat was here, for I could very easily have de-\\nfended my action but this looks very like burglary.\\nHowever, the renowned pitcher must not be disappointed.\\nSo here goes. (Goes to table, c, unlocks drawer, takes\\nout badge, locks drawer.) There you are, my beauty,\\nto make glad the heart of Bob Dyke. Now for the\\nGoosenecks. (Crosses to R. of table.) Might as well\\nhave a smoke as I go down. (Puts cigar in his\\nmozith.) W.onder if I can find a match. (Searches\\nfockets.)\\nBacheL What is he doing now O, if I could bui", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0051.jp2"}, "52": {"fulltext": "46 MY BRO-rHER S KEEPER.\\nsecure the villain If I could but get a look at hi* faoe^\\nthat I might know him again {Creeps up to table^ hack\\ncorner^ leans forward anxiously.)\\nChas. I ve found one. {Draws match across table.)\\nBacheL Ah, he strikes a light. Courage, Shellie,\\ncourage.\\nChas. All right. (^When the match is well lighted^\\nbrings it up to his cigar. It illumines his face,)\\nBacheL Gracious heavens Charley Benton {Falls\\non lounge,)\\nGhas, What s that Rats rats {Flings hooky l.)\\nDead for a ducat.\\nQUICK CURTAIN.\\nAct 3. Scene. Parlor in Abel Benton s house.\\nLounge^ L. H. corner. Table, c., bach. Arm-chair on\\nrollers R. of table. Arm-chair on rollers, r. c. Chair\\nagainst wall, near r. entrance. Rachel discovered\\nlying on lounge with her face buried in her handker-^\\nchief.\\nBachel {raising her head and throwing her handkerchief\\nacross the room). There, I m just going to put an end\\nto this business. All day long I ve been lying round,\\nmaking myself wretched, and crying until my eyes ache\\nfor a miserable I was just going to say thief. Wtli,\\nhe is a thief. He robbed his father s drawer, that s cer-\\ntain. I saw him myself. Charley Benton my Char-\\nVgy -r. O, dear I where s my handkerchief? No, I won t", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0052.jp2"}, "53": {"fulltext": "MT brother s keeper. 47\\ndrop another tear. He isn t worth it. And I, like a\\nlittle fool, instead of telling Mat all about it, must needs\\nlie to shield him. I hadn t the heart to tell my brother,\\nwhen he asked me if anything had happened, for he\\nhada t found Charley, that Charley had been there.\\nMy Charley! Where s my handkerchief? No, I won t\\ncry. I will keep his secret, but I won t shed another\\ntear. I wonder what he took. Uncle Abe is awful\\nsober, but he says nothing about a robbery, and Charley\\nI ve taken precious good care to keep out of his way\\nI ll have nothing to say to him. It s most time for\\nMat to be back. I dread the meeting. How can I look\\nhim in the face after deceiving him so\\nEnter Charley, r.\\nGhas, Ah, Shellie, I ve caught you at last. Now,\\nyou coquettish puss, explain the meaning of this avoid-\\nance of me for a whole day.\\nBachel {rising). Mr. Benton.\\nGhas, Hallo 1 That s not my name. It s plain\\nCharley.\\nEacheL Then, plain Charley, you will oblige me by\\nkeeping your distance, by calling me Miss Allen, and by\\navoiding me, as I shall endeavor to avoid you, in future.\\nGhas, Why, Shellie, what s the matter? Last night\\nyou told me that you loved me.\\nEaclieL Last night I thought you worthy of any\\nwoman s love. I have found out my mistake.\\nGhas. But, Shellie, I am all in the dark.\\nRachel. I was but a ray of light, just the gleam of\\nA match, has wonderfully dispelled the darkness in which", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0053.jp2"}, "54": {"fulltext": "48 MY brother s keeper.\\nI was enveloped. You understand a match. Hence*\\nforth we are strangers. {Exit^ l.)\\nGhas, A match. It s the worst match ever I took a\\nhand in. What does she mean Does she mean the\\nmatch we made last night? Is she going to throw it off\\nwithout a trial? I don t like this, for I love her dearly.\\nFor her sake, last night, after the presentation, I with\\ndrew from the Gooseneck Nine. I must know the cause\\nof this sudden change. It s some of Aunt Betsey s work,\\nperhaps. But I ll know. She s too dear a girl to give\\nup without a struggle.\\nEnter Scraps, r., in full evening dressy with his basket\\nunder his arm.\\nScraps. Here I am, Charley, in full regimentals.\\nGhas, Scraps, old fellow I beg your pardon,\\nJob Layton, Esq. Well, well, it s astonishing what good\\nclothes can accomplish. But you don t want that basket.\\nScraps, Hey\\nGhas, You don t want that basket. It s out of\\nplace.\\nScraps, Well, I don t know about that. There s\\nnothing like having an eye to business. {Picks up\\nRachel s handkerchiefs and puts it in the basket,^\\nGhas, Pat it in the hall. Sink the shop here.\\nScraps. Just as you say. {Exit^ r.)\\nGhas, He s a splendid old chap. Now if we could\\nonly make Aunt Betsey believe so He s just the man\\nto make her a good husband. I think if we could take\\nher by surprise she might accept Scraps, for I don t be-\\nlieve she ever had an offer. There s nothing like being", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0054.jp2"}, "55": {"fulltext": "MY BROTHPZR S KEEPER. 49\\nquick in these matters so I ll bring them together at\\nonce.\\nEnter Scraps, k.\\nScraps, There, I ve put it up stairs with my old togs.\\nNow, what next?\\nChas. Scraps, you have often said that any favor I\\nmight ask of you would be freely granted.\\nScraps. To be sure I have and I say it again.\\nChas. All right. Then I ask you to marry.\\nScraps. Hey You re on the wrong side.\\nChas. You re on the wrong side of matrimony, and\\nthe sooner you change your position the better. I ve\\nfound a wife for you. Follow my instructions and you\\nwill be a happy man.\\nScraps. Marry! I? O, come, Charley, none of\\nyour jokes. Who d marry me an old rag-picker\\nChas. A poor old rag-picker with forty thousand\\ndollars.\\nScraps. Hush Do you want to ruin me\\nChas. I know where you deposit.\\nScraps. Well, don t tell all you know. Who s the\\nlady?\\nChas. Aunt Betsey, the lady you saw at the office.\\n0, Scraps, you d make a splendid uncle.\\nScraps. O, but this is all nonsense. She doesn t\\nknow me I ve never met her we re total strangers\\nit s absurd, ridiculous. I m going home.\\nChas. No, you re not you re going to meet Aunt\\nBetsey to-night and take my advice. Scraps, propose at\\nonce. There s nothing pleases a woman so well as ai\\n\u00e2\u0080\u00a2nergetic lover.\\n4", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0055.jp2"}, "56": {"fulltext": "50 Mr brother s keeper.\\nScraps, But, Charley, I don t know how.\\nChas, It s easy enough. Tell her you ve long ad\\nmired her you have heard of her sweet disposition, her\\namiable qualities.\\nScraps, But I can t, Charley. I should be suie to\\nmake a mess of it.\\nChas, O, it s easy enough. Here s the programme\\nintroduce you Miss Benton, Mr. Layton, a gentle-\\nman who has called on particular business. I leave you\\nalone. You bow offer her a chair take one yourself.\\nA short pause. You speak. Madam, tis a beautiful\\nevening. She answers, Delightful, sir. Then you,\\nwith a sigh, don t forget that, But this trait of\\nNature is not confined to the weather alone. Some\\nwomen emphasize the some resemble it. She\\nsighs, blushes, and says, Ah me. You speak quick.\\nYou have unconsciously spoken my thoughts. Tis you,\\nindeed, clasp your hands, on whom my thoughts\\nare fixed. Why have you so long remained single?\\nYour attractive appearance, your graceful carriage, your\\nclassic face, your coal-black hair\\nScraps, Hold on, Charley. That s too much. The\\nbeautiful evening, and ah me, and the sighs, are all very\\nwell, but the carriages, the coals, and all that, are too\\nmuch.\\nChas, O, these are merely complimentary epithets.\\nYou can number them one, attractive appearance two,\\ngraceful carriage three, classic face four, coal-black\\nhair five, amiable temper.\\nScraps (^counting his fingers). One, attractive appear*\\nance two, graceful carriage, all right, I ll keep tally\\non my fingers. What next", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0056.jp2"}, "57": {"fulltext": "MY BROT IER S KEEPER. \u00c2\u00bb^1\\nChas. The rest you must leave to inspiration fof\\nhere she comes. Tell her you adore her, and tK.-ow\\nyourself on your knees, bfv^ her to bestow her hand\\nHere she is.\\nScraps. But, Charley, f shall make a mess, I know I\\nBhall.\\nEnter Fetsey, r.\\nBetsey, Well, I never. There s that front door stand*\\ning wide open, and the coal bin just as full as it can be,\\ntoo, and Abel away at this I me of night, and Mr. John-\\nson standin in his front yard o. smokin a nasty pipe. If\\nthere s anything I detest, it a pipe. When Abel had\\nthem gas pipes put in, I told him jest how it would be,\\nthough what that s got to do with smokin tobacco the\\nLord only knows. Why, here s Charley, and a strange\\nman, too. Wonder if he wiped his feet.\\nChas. Good evening. Aunt .Betsey. This is my friend,\\nmy wealthy friend. Miss Bentoi Mr. Job Layton.\\nBetsey. How do you do, Mr. Job Layton Pears to\\nme I ve heard one of them names fore. Layton Why,\\nbless me, there was a family of L^rytons lived right oppo-\\nsite us poor as puddock, too. Any relation of that\\ntribe\\nChas. O, no Mr. Layton is der ^.ended from a very\\naiistocratic family, of very ancient o \u00c2\u00bbig?n.\\nBetsey, Biblical, pr aps. There wrs a Layton in my\\nfamily Bible. No, twan t, nather twas Job, the man\\nwho had so many blisters. Pr aps he wis one of your\\nfamily.\\nChas. Aunt Betsey, Mr. Layton ha^ v^^ irb^ft^", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0057.jp2"}, "58": {"fulltext": "52 MY bkother s keeper.\\nmatter to bring to your attention. He wishes to consul!\\nyou on a subject that lies near his heart.\\nBetsey. What s the matter with him Hope tain t\\nneurology or rheumatics. That s always fatal when it\\naffects the heart. What s his symptoms\\nChas, ril leave him to explain. Treat him kindly,\\nfor he is one of the best of men.\\nBetsey. Is he? Well, so are they all, till they re\\nfound out. There was Judith Higborn s husband. Why,\\nfolks thought butter wouldn t melt in his mouth, he was\\nso meek, till Judith sent him one day to the milliner for\\nher bunnet, and that was the last ever seen of the hus-\\nband, or the milliner, or the bunnet. Spring bunnet, too,\\nwuth ten dollars.\\nChas, Well, listen to his complaint, and remember\\nhe has my recommendation as an excellent husband.\\n(Exity R.)\\nBetsey {aside). Husband? Whose, I wonder? He\\ndon t look very bright. Well, Mr. Lay ton, what s your\\nsymptoms? (Scraps hows, wheels chair down from c,\\nand bows^ motioning Betsey to he seated.) Thank you.\\n(Sits.) Well, he s perlite, anyhow. (Scraps goes to r.,\\nwheels down chair r. of Betsey.) What a draft from\\nthat door Guess I ll take the other chair. {Moves into\\nchair placed hy Scraps.)\\nScraps. Hey She s on the wrong side. That wou t\\ndo. I can t hear a word. (Passes hehind Betsey, taket\\nthe chair at her L., and wheels it round to her R.)\\nBetsey. Law sakes, you needn t have troubled your*\\nBelf. (Moves to the other chair.) That was just as com-\\nfortable, just as comfortable.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0058.jp2"}, "59": {"fulltext": "MT BROTHER S KEEPER, 53\\nScraps (loohing at her). It s no use. I can t hear a\\nword there. (7s about to move the vacant chair^ as he*\\nfore.)\\nBetsey. What ails the man Stop stop Sit down.\\n(Scraps looks at her, then sits,) Something the matter\\nwith his heart I should think twas his head. Now,\\nthen, what s the symptoms\\nScravs. I can t hear a word. (^A short pause.\\nThey look at each other.) Madam, it s a delightful\\nevening.\\nBetsey, Delightful evening The man s a lunatic\\nI know it. Why, it s raining cats and dogs. The mud\\nis twelve inches deep. It s horrid, horrid\\nScraps (aside). Don t hear a word. (Aloud,) But\\nthis freak of nature is not confined to the weather alone\\nsome women are just like it.\\nBetsey. Now, what does he mean by that? Some\\nwomen are horrid Does he mean me\\nScraps (aside). She spoke, but I heard nothing.\\n(Aloud.) Yes, you have unconsciously spoken my\\nthought. Tis you, indeed.\\nBetsey. What O, the man s a lunatic he cer-\\ntainly is. He ought to be put in a strait thimajig at\\nonce.\\nScraps (aside). What comes next? Single, single,\\n(^Aloud.) No wonder you have remained single so\\nlong.\\nBetsey. The sarcastic wretch.\\nScraps (aside). So far, so good. Now then. (Counts\\nhis fingers,) Ooe, appearance (Aloud.) Your ven\\nerable appearance", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0059.jp2"}, "60": {"fulltext": "64 MY brother s keeper.\\nBetsey, 0, the wretch And he old enough to be mj\\nfather.\\nScraps (counts his fingers. Aside). Two, form\\n(Aloud.) Your antique form\\nBetsey 0, Fd like ;o strangle him\\nScraps (counting. Aside). Three, face (Aloud.)\\nYour coal-black face\\nBetsey. O, Charley Benton, you shall pay for this.\\nScraps (counting. Aside). Four, hair (Aloud.)\\nYour more antique hair\\nBetsey. The man s a fool.\\nScraps (counting. Aside). Five, temper (Aloud,)\\nYour versatile temper\\nBetsey. Stop, stop, I say You ve said quite enough.\\n(Bises.)\\nScraps. Hey? (Aside.) What next? (Aloud.)\\nYou are dying for me, or I am for you, it don t make\\nmuch difference. (Falls on his knees.) Behold me at\\nyour feet. Bestow upon me your hand. If ever I\\ncease to love\\nBetsey. I will; there. (Boxes his ears^ first rights then\\nleft.) There You re a fool, or a lunatic. If you ever\\nshow your face here again I ll scratch your eyes out,\\nyou mean, contemptible old ragamuffin. You jest make\\nyourself scarce, or I ll have the police after you. Come\\nhere again, and I ll have a boiler of hot water ready,\\nand use it, too. Venerable, indeed You old idiot\\n(Exit^ R.)\\nScraps. Evidently not a success. Well, I m glad of\\nit. I ve made a fool of myself to please the boy.\\ndon t know what she said, but I m on the wrong side.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0060.jp2"}, "61": {"fulltext": "MY brother s keeper. 55\\nEnter Mr. Benton, r.\\nMr. B. Ah, Job, you re the very man I wanted. But\\nhow s this? Here in my house, and dressed so fine I\\nWhat is the meaning of this?\\nScraps. O, it s one of Charley s jokes. He wanted\\nto bring me out in society. (^Aside.) And he has, with\\na vengeance.\\nMr. B. Well, I m glad to see you. But listen. Your\\nmoney is gone.\\nScraps. Has it? Well, I m not surprised.\\nMr. B. You will be wheu you learn who took it.\\nTwas Matthew Allen.\\nScraps. You re mistaken. Twas the other.\\nMr.B. What other?\\nScraps. Richard Carnes.\\nMr. B. No, Job, twas Matthew. Of that I am sure.\\nHe was left in charge of the office. He was seen in Mur-\\nphy s billiard-room at nine o clock. I m sure. When\\nI found the money gone this morning, I put a detective\\nupon his track. There can be no mistake. It is Mat-\\nthew Allen.\\nScraps. I don t believe it. If forty detectives were\\non his track, if a thousand circumstances conspired to\\npoint out Matthew Allen as the thief, I would doubt ali\\nbut his honesty.\\nMr. B. Bah Job, you re too credulous. He has\\nbeen false to his trust. Against my express orders, he\\nleft my store last night and should he ever return, I\\nwill discharge him from my employ.\\nScraps Don t be hasty, Abel. Give the lad a chance.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0061.jp2"}, "62": {"fulltext": "66 MT brother s keeper.\\nHe has served you well. Even if he were guilty, you\\nshould be mercifuL\\nMr. B. Merciful to a thief? How do I know but\\nwhat he has robbed me before No, he shall be pun-\\nished.\\nScraps. Bah You ll have to beg his pardon for sus-\\npecting him. Abel, keep cool. Wait till the real thief\\nshows his hand.\\nMr. B. He has shown it now. No, no, Job, you like\\nthe lad, and would save him if you could but depend\\nupon it {Enter Rachel, r.) the thief who stole your\\nmoney was Matthew Allen. {Exit^ l.)\\nRachel. O, what do I hear? Matthew suspected 1\\nNo, no, it cannot be. Mr. Layton {comes down r. of\\nScraps), what did he say? What did he say? Whom\\ndoes he suspect?\\nScraps {aside). His sister Twould break her heart,\\n{Aloud.) Hey? You re on the wrong side. {Crosses\\nto R.) ril go and change this toggery, for I don t feel\\neasy. {Exit^ r.)\\nBachel. Brother Mat suspected O, I never thought\\nof that. But I can clear him, I can clear him. But\\nhow By denouncing Charley, my Charley, that I love\\nso dearly 0,1 can never do that. Perhaps he wanted\\nthe money for some special service. Perhaps O, why\\nshould I try to excuse so base a deed O, would that I\\nwere dead If I betray Charley, his father will drive\\nnim from the house, and I should never see him again.\\nAnd, spite of his crime, I love him so dearly 1 But my\\nbrother He must not suffer for the crime of another,\\nQor will he, for they hs^YQ no proof* ^nd Charley h\u00c2\u00ab", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0062.jp2"}, "63": {"fulltext": "would curse me should I betray him. O, what shall I\\ndo 1 (Falls on her knees hy sofa,) O, mother, sainted\\nmother I if you watch over your child, guide bftr in thia\\ndark hour. {Buries her head in sofa^ weeping.)\\nEnter Richard, r.\\njSicA. Ah, Shellie at your devotions, (Rachel\\nrises suddenly,) Don t let me disturb you. Where are\\nall the good people\\nEacheL Good evening, Mr. Games. Take a seat,\\nGrace and my aunt will soon appear.\\nBich. Thank you. {Sits l. of table. Rachel on\\nlounge.) Has Mat returned yet\\nBachel. No, we are expecting him every moment. I\\nam sorry he could not arrive sooner.\\nBich. {aside). So am I. I expected to find his coat\\nhanging in the hall. Old Scraps s money-bag is heavy\\nin my pocket and on my conscience. I must get it dis-\\nposed of somewhere about Mat s wardrobe. {Aloud,)\\nWhere s Charley, Shellie?\\nBachel. I don t know.\\nEnter Charley, r.\\nChas. Nor does she care, Dick. I m glad to see you.\\nDo you feel better, Shellie\\nBachel {turns her hack). No, I don t feel better.\\nChas. Then we must get Aunt Betsey to prescribe\\nfor you. {Enter Betsey.) Here, Aunt Betsey, is\\nanother patient for you. Come, Shellie, tell her your\\nsymptoms.\\nBetsey. Symptoms Well, if they re anything like", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0063.jp2"}, "64": {"fulltext": "58 MY BROTHER S KEEPER.\\nthose of the last patient you found for me, I prescribe a\\nlunatic asylum at once. How do you do, Mr. Carnes?\\nBich, Good evening, Miss Benton. How becomingly\\nyou are dressed this evening Your stately person\\nBetsey. Now don t you be a fool. I ve heard enough\\nallusion to my personal appearance this evening already\\nto make me sick. (^Sits r. of table.)\\nChas. (aside). Hullo Scraps must have made a\\nfailure. (Aloud.) Did you comfort my friend, Mr.\\nLay ton, Aunt Betsey?\\nBetsey. You just bring him here again, that s all.\\nEnter Grace, l.\\nGrace. Shellie, Shellie, Matthew s come. I heard\\nhis step on the walk and I should know it (Stops\\nconfused.) Why, I didn t know we had company. Good\\nevening, Mr. Carnes.\\nBich. Good evening, Miss Benton.\\nGrace (aside). Tiresome thing! Just spoiled my\\nmeeting Mattliew in the hall. (Aloud.) Shellie, why\\ndon t you run and meet Matthew\\nBachel. My head aches fearfully. (Aside.) How\\ncan I meet him\\nBetsey. Land sakes He knows the way from cellar\\nto garret.\\nEnter Matthew, r., with coat on his arm, which he\\nthrows across chair, r.\\nMat. Ah, here you all are. Home again, as you see\\nGrace (running to him). Matthew, welcome\\nMat, Thank you, my dear (pause) dear friend\\nT ukf fi hrr hand.)", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0064.jp2"}, "65": {"fulltext": "MT brother s keeper 59\\nGrace, Well, what success?\\nMat. The best of success. The cargo of the Elmyra\\nis sold. {Enter Mr. Benton, l.) Good evening, Mr.\\nBenton. I was just telling your daughter my mission was\\nsuccessful. The cargo of the Elmyra has been taken.\\nMr, B, Indeed. Do you know of anything else that\\nhas been taken, Mr, Allen?\\nMat {surprised), Mr. Allen? To what do you allude,\\nMr. Benton?\\nMr, B, Matthew Allen, as you well know, I am a\\nman of very few words. Last night you were left in\\ncharge of my warehouse. During the night a bag of\\ngold, placed in a drawer for safe keepin,^^, was abstracted.\\nWhere is it?\\nMat, A bag of gold, belonging to Job Layton, stolen\\nI know nothing about it.\\nRachel {aside). Why don t Charley speak? (Char-\\nley is in conversation with AtTNr Betsey.)\\nMr. B, This is strange. You were left in charge of\\nthe warehouse. Did you leavi it during the night?\\nMat. I did.\\nMr, B, Where did you go i\\nMat, That, sir, I cannot teU. I received a note late\\nin the evening from a friend, calling upon me as a friend\\nto assist him. That is all I cm say. It remains for\\nbim to clear the mystery.\\nRachel (aside). O, why don t Charley speak? Ono\\nword from him, and Matthew is cLiar.\\nMr. B. So, sir, you cannot clea the mystery but I\\ncan. You left that place to go t Murphy s billiard-\\nroom. You were seen there. This money was left Id", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0065.jp2"}, "66": {"fulltext": "60 BT ISOTHEK EEPEB.\\nyonr charge. You alone were responsible for it and 1\\ncharge you with the theft.\\nMat. Mr. Benton\\nGrace. Father\\nBachel {aside). And there Charley sits as cool as a\\nvillain. Why don t he speak?\\nMr. B. Yes, Matthew Allen, I have trusted you\\nfolly. I have believed in your truth and honesty but\\nthe very fact that you quitted that store is proof positive\\nof your guilt.\\nMat. Mr. Benton, all I have in the world I owe to\\nyou. I believe I have not been ungrateful for your kind-\\nness. Had I done the base deed of which you accuse\\nme, I could not look you in the face, as I do now, and\\npronounce your charge false.\\nBachel {jumping up.) Charley Benton, do you hear\\nWhy don t you speak\\nGhas. I beg your pardon, Shellie. What s broke\\nI ve been having a talk with Aunt Betsey.\\nBachel. Mat, my brother Matthew, is accused o/\\ntheft by your father, too.\\nGhas. That s a serious matter. I say, father, wh^\\nis it\\nMr. B. Nothing that should be made public. Mat*\\nthew Allen is about to quit my service disgraced.\\nMat. Disgraced\\nMr. B. Yes, disgraced Everything is against you\\nyour absence from the store, the empty drawer, the\\nmissing money-bag\\nGhas. {aside). Drawer, store, money-bag {Aloud.)\\nI say, Shellie, what s all this?", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0066.jp2"}, "67": {"fulltext": "Sachel. And you ask me? Shame, shame, Charley\\nBenton.\\nChas, Well, confound it If you won t tell me what\\nit s all about, you ll excuse me if I don t interfere. (Re-\\ntires up,)\\nMr, B. (to Matthew). There is not one circumstance\\nin your favor.\\nGrace. Father, you are wrong. There are a thousand\\nhis good, true life his zeal in your service his care for\\nhis sister all stand out to shield him from suspicion.\\nMr, B, You, Grace, defend him\\nGrace, With my life, if need be. I know him to bo\\nBO good, so true, so noble, that when you turn him from\\nyour door, my arm shall be around him, and my voice\\nshall whisper in his ear, Whither thou goest I go.\\nMat, Dear, dear Grace\\nRachel (aside). Must I learn my duty from her.\\nMr, B, Never No daughter of mine shall link her\\nfate with a felon a thief\\nGrace, A thief? Tis false\\nRachel, Ay, false, false And I can prove it.\\nAll, You, Shellie? (Aunt Betsey comes down^ l.\\nSituations Matthew, r., Grace, r. c, Eachel, c,\\nMr. Benton, l. c, Aunt Betsey, l., Charley and\\nRichard hack hy the tahle^ looking on.)\\nRachel, Yes, I for I was in the counting-room when\\nthat money was taken. My brother is guiltless. He\\nwas called to help a friend, as he tells you. I was left\\nalone. I heard a step blew out the candle. The thief\\nentered, opened the drawer in the table, moved away,\\nand then returned and made a second attempt. I was so\\nfrightened that I did not tell my brother.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0067.jp2"}, "68": {"fulltext": "62 BIT brother s keeper.\\nMaL That was wrong, Shellie.\\nBachel, I know it, brother. I have deceived you,\\nand am no more worthy to be called your keeper. But\\nyou shall be cleared. {^With feeling.) Uncle Abe, sup-\\npose a young girl had a brother, whom she loved very\\ndearly a brother, whom she had told her dying mother,\\nshould never suffer, when any sacrifice could be made on\\nher part. Suppose she also had a lover, whom she loved\\nvery dearly, very, very dearly, and she were called\\nupon to sacrifice one or the other, who had committed a\\ncrime, what should you advise to do\\nMr, B, Save the innocent if it broke her heart.\\nBachel, Right, Uncle Abe you are right, sir. Lis-\\nten, then. Last night, when that thief came in for the\\nsecond time, I was on the alert. After he had accom-\\nplished his purpose, he struck a match, and as he held it\\nup to light a cigar, I saw his face.\\nMaL His face, Shellie? Did you know him?\\nBachel. Know him? {Throws herself into his arms^)\\nToo well, too well. Twas him. (^Pointing.) Charley\\nBenton.\\nAIL Charley Benton {All fall hack, showing Char-\\nley coolly seated on the table with his amis folded,)\\nChas. Well, what of it? I was in the store last\\nnight, did open the the drawer, and take from it\\nMr. B. The bag of gold?\\nChas. {coming down,) No, sir, the pitcher s badge,\\nwhich you so unceremoniously locked up for me.\\nMr. B. But the money\\nChas. I know nothing about it. There was ncD\u00c2\u00ab\\nthere when I took the badge, that s certain.\\nf", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0068.jp2"}, "69": {"fulltext": "MY brother s keeper. 65\\nMat, So, Charley, your note to me was a blind to get\\nme from the store.\\nChas. What note? I sent no note. Hang it, what\\na mysterious time you are having here Who s the rob-\\nber, anyhow?\\n3Iat. I received a note signed with the name of Chai\\nley Benton. Here it is. I thought it my duty to leave\\nthe store, as I had left my sister in charge.\\nChas, And Shellie caught the thief?\\nJRachel, Stop, Charley. Did you take the badge tha\\nfirst or second time you entered the room\\nChas, Hang it, Shellie, are you beginning to be\\nsuspicious I entered the store but once.\\nRachel. And found nothing in the drawer but the\\nbadge\\nChas, Not a thing.\\nEachel. Then there was another.\\nRich, {aside), I wish I was well rid of this bag.\\nThere s Mat s coat in the chair. I can easily slip it into\\nthe pocket, and then I m safe.\\nMr, B, Yes, there was another and that other your\\nbrother.\\nGrace. Still suspicious, father.\\nMr. B. Still suspicious and, until the thief is found,\\nyou, Matthew Allen, are suspended from service.\\nMat, This is very hard, Mr. Benton.\\nMr, B, You should not have left that store had fifty\\nnotes been sent you. Had the building been in flames\\nyou should not xiava disobeyed my orders.\\nRich, {who has crept over to chair r. Aside), Now^\\nthen, to fasten his guilt.", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0069.jp2"}, "70": {"fulltext": "64 M BROTHEB KEEFEB\\nMat. Very well, sir. I have tried to do my duty,\\nIf I have failed, my heart, my conscience acquit me of\\nblame or guilt.\\nBich. (takes money-hag from his breast pocket Aside),\\nAll right. Now, then. {About to place it in Matthew s\\ncoat pocket. Scraps enters suddenly^ r., in his old cos*\\ntumej his basket in both hands.)\\nScraps, Hey? (Holds out basket. Richard starts\\nback, and drops the bag into basket.) You re on the\\nwrong side, Mr. Carnes, the wrong side.\\nMr. B. Job Layton, what are you doing?\\nScraps. Recovering my money. Here it is. (Cornea\\ndown^ C.) Here is the money (showing basket)^ and here\\nthe thief. (Seizing Richard by wrist.)\\nMr. B. Richard Carnes You are mistaken; Job.\\nScraps. Now don t be a fool, Abel. I knew when I\\nplaced that money in your hands it would be found in the\\npossession of Richard Carnes. He s a notorious gambler\\nthat I know. He frequents Murphy s billiard-rooms he\\nwas there last night wrote a note to Matthew Allen,\\nand sent it to the store last night then entered the store\\nwith a false key O, I know him I ve proof enough\\nthat he committed this theft to put him in prison, and he\\nknows it. Hey, Mr. Carnes\\nMr. J?. Richard Carnes, what have you to say\\nRich. Nothing if you take the word of that raga-\\nmuffin, I am a thief; but this little affair was arranged\\nfor an entirely different purpose. It has failed, and I am\\nthe loser. I am a gentleman s son my father will make\\nall losses good. As for the business, I have grown tired\\nof it, and want a change so, with your permission, I will", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0070.jp2"}, "71": {"fulltext": "MY BROTHER*S KEEPER. 63\\nthrow up my situation. If I am wanted, you will find\\nme at home. I shall not run away. Good evening, Mr.\\nBenton good evening, all. (At door^ r.) A cursed\\nstupid mess I ve made of it, (Exit, r.)\\nScraps, Well, that s cool.\\nChas. Decidedly. Shall I stop him, father?\\nMr. B, No let him go. If he feels one half the\\nghame I feel for my share in this business, he is suiS-\\nciently punished. (Crosses to Matthew.) Matthew, I\\nbeg your pardon. I have been hasty. Knowing your\\nworth, I should have cut my tongue out ere I made the\\ncharge I did.\\nMat. Let it pass, Mr. Benton. Circumstances were\\nagainst me. I should not have left your store and the\\nfear of compromising your son kept me silent,\\nMr. B. And you {to Charlet), what have you to say\\nfor your share in this\\nChas. Me? Well, I like that! It strikes me Tm\\nthe martyr suspected of being a thief, and by Shellie,\\ntoo.\\nBachel. O Charley, forgive me. I thought I was\\nright. It was my brother\\nChas. O, well, if a brother is. to stand between you\\nand me, the sooner I claim the privileges of a husband\\n.he better.\\nBetsey. Shellie, that man in the ragged coat Bless\\nmy soul, it s him the man that saved me from the run-\\naway horse.\\nliachel. Why, so it is. Strange I should not have\\nRecognized him.\\nBetsey. Who is he? What s his name?\\n4", "height": "4048", "width": "2828", "jp2-path": "drawingroomstage00bak_0071.jp2"}, "72": {"fulltext": "bo MY BROTHER S KEEPER.\\nCJias, Why, don t you know? That s Job Layton,\\nEsq.\\nBetsey, What, the lunatic? Well, if I d have knowB\\nhe was my preserver Mr. Layton, Mr. Layton?\\nScrajos, Hey? You re on the wrong side. (^Tuim\\nhis back to her,)\\nChas, It s no use, Aunt Betsey. You ve lost your\\nchance.\\nGrace, And now, father, where is the new partner\\nyou were to present this evening\\nMr, B, He is here. {Places his hand on Matthew s\\nshoulder,) Matthew Allen, for your long service, for\\nyour true, earnest zeal, for your honesty and value, J\\noffer you a partnership.\\nMat, Me? O, Mr. Benton, you are my best friend,\\nbut I cannot accept.\\nMr. B. Not accept?\\n3Iat, No, sir, for I have already formed a partner-\\nship with another this dear girl.\\nGrace. Yes, father, we have formed a partnership for\\nlife.\\nMr. B, I see and, though I have not been asked, I\\nwill give my consent. Have your partner, but he must\\nalso be mine, under the firm of Abel Benton Son.\\nGhas. Well, it strikes me I shall be left out in the\\ncjld.\\nMr. B. Your turn shall come next, with Matthew s\\nccnseot.\\nMat. Anything you wish, sir.\\nRachd. But what s to become of me\\nGhas. Now don t you fret about thiit, Shellie. Grace", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0072.jp2"}, "73": {"fulltext": "MT BROTHER S KEEPER.\\nis going into the new firm. Let s you and I form an op\\nposition.\\nBachel. And so Miss Grace is to usurp ray place.\\nWell, I suppose I must bear it.\\nScraps. Shellie, that scamp of a Charley wants a\\nkeeper. I know him. He s a rascal jumps into the\\nwater, you know. Marry him, and watch him.\\nBachel, What do you say, Uncle Abe\\nMr. B. You have my full consent.\\nBachel. And you, brother Mat?\\nMat. I know no one more worthy of my dear sister\\nthan Charley Benton.\\nBachel. There s my hand, Charley. And as I have\\ntried to be true to my brother, so may I be true to you.\\nIf I have failed in my duty there, it was for love of you.\\nMat. Nay, nay. Sunshine you have been ever true.\\nThe happiness of this hour I owe to you alone.\\nBachel. Say, rather, to our dear, trusty, watchful oW\\nrag-picker.\\nScraps. Hey You re on the wrong side. Earthly\\nfriends may do much to guide and guard each other, but\\nJustice, Love, and Truth are servants of a higher Power,\\nwho, in the darkest hour, is ever the sure, safe, reliani\\nkeeper.\\nDisposition of Characters.\\nR. C. L\\nScraps.\\nGrace. Charley.\\nMatthew. Bachel.\\nHr. Benton. Betset", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0073.jp2"}, "74": {"fulltext": "", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0074.jp2"}, "75": {"fulltext": "THE REVOLT OF THE BEES.\\nAN ALLEGORY.\\nFOR FEMALE CHARACTERS ONLY.\\nCHARACTERS.\\nRegina, Queen of the Bees.\\nThriptie, Gaylie, Leaders of the Working Bees.\\nTrusta, Warna, Guardians of the Hive.\\nGoLDWiNG, Brighthue, Varia, Spotila, Butterflies.\\nThis allegory is particularly designed for school exhibit\\ntions. Choruses should be seated on the platform, B.\\nand L. An open stage should he left between the\\nspeakers.\\nScene. Exterior of the Hive, Bank, c.\\n{Invisible Chorus. Air, Up Away I\\nHo, Awake Ho, Awake I Ho, Awake I All ye dwellers in\\nthe hive,\\nAway let us speed, for the day is alive.\\nHow freely the flowers are opening their cups.\\nHow glisten the dewdrops each greedily sups I\\n69", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0075.jp2"}, "76": {"fulltext": "70 THE REVOLT OF THE BEES.\\nThe fairest and brightest yield sweets as we strive\\nWitli treasures of honey to fill up the hive.\\nLabor gives high delight, delight beyond all measure,\\nOur hive we love so well we ll fill with sweetest treasure\\nLabor gives high delight, delight beyond all measure;\\nO, high delight, the hive we love to fill.\\nHJnter^ L., arna, r., Ihusta.\\nWarna, Hark to those welcome sounds our vigils o er,\\nThe hum of labor stirs the hive once more\\nSweet sister Trusta, in your nightly round,\\nHath ought suspicious or uncouth been found?\\nTrusta, Nay, nay, good Warna, twas a quiet night\\nNought but the moon hath crossed my weary sight.\\nAh me tis very hard to keep awake\\nWhile our companions of sweet sleep partake.\\nWhat should we fear? What need of guarding thus?\\nWho d care or dare to interfere with us?\\nWarna, Tis an old custom, Trusta, a bee law,\\nIn which our tribe has never found a flaw\\nOur code of government is very wise,\\nAnd ancient as the orbs that rule the skies\\nOue rules our gracious queen the rest obey\\nSome forth in search of honey daily stray,\\nSome mould the cells within our tasty hive,\\nSome store our treasure, some with burdens strive,\\nWhile others guard with jealous care the way,\\nThat no unbidden guest may hither stray.\\nEach has a task, and all together strive\\nWith fruits of Industry to store the hive,\\nAnd keep its motto bright above the door.\\nNo laggards here, where all should work and store.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0076.jp2"}, "77": {"fulltext": "THE REVOLT OF TH:^: BEES. 71\\nTrusta. To work and store. For what? When all s\\ncomplete,\\nRoiigli-hauded men assail our calm retreat,\\nDisturb our labors, and our workers slay,\\nliifle our cells, our treasures bear away.\\nIf this is Industry s reward for toil,\\nSurely our labor s not repaid by spoil.\\nWarna, Trusta, your long night vigil makes you wild.\\nAYhy, this is treason, rank rebellion, child.\\nShould your bold words but reach the royal ear,\\nYou d be disgraced by punishment severe.\\nI marvel at this rude, complaining mood\\nIn one who hitherto so fair hath stood.\\nTrusta, Well, marvels never cease, the wise ones say.\\nmarvel, Warna, that we never play\\nAmong the flowers, as yonder sportive flies.\\nBent to no tasks, on airy pinions rise\\nDance, race, and flutter, in the summer air,\\nMaking a pastime where w^e find a care.\\nWarna, Hush, foolish Trusta hither comes our\\nqueen\\nMeet her with welcome voice and face serene\\nLet not the idle fancies of your brain\\nLead you in word or act to give her pain.\\n{^Chorus, Air^ Up Away as be/ore,)\\nEnter R., Thriftie and Regina.\\nBegin a. Once more a brilliant morning gilds our hive\\nThe woods with early songsters are alive\\nThe grateful incense of a thousand flowers,\\nBorne on the gentle breeze in unseen showers,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0077.jp2"}, "78": {"fulltext": "72 THE REVOLT OF THE BEES.\\nInvites our happy tribe, with quickening zest,\\nTo favor gaylj labor s just behest.\\nForth to your tasks, my subjects boldly beat\\nThe choicest flower for its hidden sweet.\\nYou, Thriftie, our most tried and trusty guide,\\n8hall lead your column to yon mountain- side.\\nThe fabled home of many a wondrous flower,\\nEndowed with sweets of pungency and power\\nYou, Warna, still stand guardian at the door\\nYou, Trusta, hold your station as before.\\nAnon we ll change the guards till then beware\\nNone enter here, to trap us unaware.\\nThriftie, Thanks, thanks, my queen with confidence\\nelate,\\nMy swift-winged followers, all-impatient, wait\\nThe call to duty. Gladly to obey\\nThy lightest wish, we eager haste away.\\nProud of thy favor, ere the sun s retreat,\\nWe ll lay the choicest treasures at thy feet. \\\\_Exit^ R.\\nQueen, Ay, zealous Thriftie, thy true, loyal heart\\nCan life and grace to any task impart.\\nLoving strong labor for the good it brings,\\nAll toils are light where cheerfulness lends wings.\\nEnter r., Gatlie, slowly.\\nWhat laggards here? Gaylie, this sluggish pace\\nBefits no leader of our active race.\\nGaylie, Pm weary, gracious queen, of so much\\nwork,\\nAnd long this day s accustomed task to shirk\\nFrom morn till night tis work. I fain would rest", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0078.jp2"}, "79": {"fulltext": "THE REVOLT OF THE BEES. 73\\nA little while within my cosy nest,\\nOr, parted from the toilers of to-day,\\nLightly for pleasure o er the meadows stray.\\nQueen. Gaylie, no more you know not what you ask.\\nPleasure alone comes with a finished task\\nRank idleness is but a torturing pest,\\nGoading to sin, the mockery of rest\\nCrush out at once the feverish desire,\\nAnd to some more exalted state aspire.\\nThis be your task o er yonder field of clover,\\nWith those you lead, upon the instant hover\\nGather the sweets that there in richness lie.\\nAnd with your burdens to our mansion hie\\nNo more complaining, and no more delay.\\nArrange your force at once. Away Away\\n\\\\_Exit Gaylie, b.\\nNow, guardians of the hive, be wise and wary.\\nPass none within save those who burdens carry. \\\\_Exit^ r.\\nWarna, Trusta, you see that Gaylie s idle mien\\nHath found no favor with our gracious queen.\\nTrusta, Yet, I confess, her weakness hath a charm\\nMy pulse to quicken and my bosom warm.\\n{Invisible Chorus, Boating Song\\nGayly our pinions swift bear us along,\\nO er the green meadows our flight we prolong.\\nFreely and lightly we skim the still air,\\nRealm of the butterflies, heart free from care.\\nBrightly are gleaming our wings as we fly,\\nGay is the life of the free butterfly\\nBrightly are gleaming our wings as we fly,\\nGay is the life of the free butterfly.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0079.jp2"}, "80": {"fulltext": "74 THE REVOLT OF THE BEE\\nTrusta. Listen the butterflies are on the wing\\nThey have no task to check life s joyous spring. \\\\_Ex{t^ R.\\nWarna, An idle tribe, who all unthrifty roam,\\nThe gypsies of the field, no care, no home. [_Exit^j^,\\n(^Chorus. Boating Song repeated^ during which enter\\nR., GoLDWiNG and Varia, l., Brighthue and\\nSpotila.)\\nGold, Good morning, sisters of the sportive wing.\\nWhat gay report of frolic do you bring\\nBright. Goldwing, kind Nature ne er made morn like\\nthis.\\nMy early flight was one full draught of bliss\\nO er waving corn, through fields of new-mown hay,\\nUp flowery banks, triumphant was my way\\nLight as the fleecy clouds, as free from care,\\nI sped, a careless rover of the air.\\nSpotila, My flight was on the bosom of the stream,\\nSparkling with diamonds from the sun s first beam.\\nForward and backward did I dancing go,\\nChasing my shadow in the depths below.\\nVaria, I sailed on easy wing to yonder peak,\\nThe god of day s first welcome kiss to seek\\nThere danced I in the splendor of his rays.\\nAmid the trees with golden tints ablaze.\\nGold. A morn of pure delight you well have told.\\nListen while I ray wanderings unfold\\nHiding awhile beneath a dewy rose\\nWhich in yon garden gloriously grows,\\nA fair-haired child, with merry, dancing eyes,\\nPeered in upon me in a glad surprise", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0080.jp2"}, "81": {"fulltext": "THE REVOLT OF THE BEES. 75\\nWith wily hand, to covetous embrace\\nHe sought to snatch me from my hiding-place.\\nBut all in vain my airy wings outspread,\\nAwhile I hovered o er his golden head,\\nThen led him on a merry, dancing race\\nTo many a nook and corner of the place.\\nTill quite o erpowered, and mourning at his loss,\\nHe sank to sleep upon a bed of moss.\\nBright, Goldwing, you are a wicked, teasing sprite\\nVaria, To tempt and tease was always her delight.\\nSpot, This new adventure gives me no surprise\\nMischief has built its nest in Goldwing s eyes.\\nGold. Eight, right, fair Spotila to frolic free\\nIn field or woodland is the life for me.\\nHearken, sweet Brighthue here, amid the trees,\\nThere is a busy hive of honey bees,\\nWho earnest labor through the livelong day,\\nSpending no time in frolic or in play\\nGrant me your aid, and from the weary task,\\nI ll lure them to the fields wherein we bask,\\nTeach them to sport and flutter in the breeze.\\nTo race and chase amid the flowers and trees.\\nDisclose the glorious powers which we enjoy.\\nPleasure and sunshine with no base alloy.\\nBright, I m with you, heart and hand, my joyous\\nsprite\\nTwill to our pleasures add a new delight.\\nVaria, Twill cause a hubbub in the busy hive,\\nShould you succeed in that for which you strive.\\nGold, For that we care not only lend your aid\\nTill of the leader I ve a captive made.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0081.jp2"}, "82": {"fulltext": "76 THE REVOLT OP THE BEES.\\nThe rest will follow to tlie fields anon.\\nSilence stand close the bees are moving on.\\n\\\\_They retire to L,\\n{^Chorus. Hunting Song during which enter Theiftik\\nand her Attendants^ r.)\\nOn airy wing, with busy hum,\\nBlithely to work we come,\\nPor sweets to store the home.\\nThe worker loves to roam\\nWhere birds are singing,\\nSo far, so near. So far, so near,\\nWhere flowers bright upspringing\\nBestow their treasures dear.\\nGold. Whither so fast, fair friends\\nThri/tie, To yonder hill,\\nSeeking for treasures our fair hive to fill.\\nGold, The day is warm the labor hard to wrest\\nThe honey sweets from out the thorny breast.\\nLeave toil and care awhile, and freely stroll,\\nLight-winged, across yon green and grassy knoll.\\nBright. I challenge thee to try thy pinions flight\\nIn a wild race to yonder crowned height.\\nSpot. I dare you to a race o er yonder plain.\\nVaria. Thy speed gainst mine, yon silvery stream to\\ngain.\\nThriftie. Nay, nay, good friends my queen our task\\nhas set,\\nAnd at my call my train have early met.\\nWith grateful thanks, we must decline to play,\\nWhen duty calls for work another way.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0082.jp2"}, "83": {"fulltext": "THE REVOLT OF THE BEES. 77\\nGold. Nay, not so fast lay by your toil and care,\\nAnd freely all our promised frolic share.\\nThere Labor waits its weary power to press,\\nHere Pleasure beckons with a warm caress. \\\\_Points^ L.\\n(JDistant Chorus. Bepeat Boating Song,** during\\nwhich Thriftie steps bach, c. Gold wing, Bright-\\nhue, cross stage, take two Attendants, place their arms\\nahout their waists, and pass slowly across stage to L.\\nVaria a7id Spotila cross, and have their arms about\\nthe waists of the other Attendants^ facing c. as the\\nsong closes.)\\nThriftie (loud). Halt.\\n(Stands c, with hand raised. Two Attendants pass\\nquickly to Thriftie, stand just behind her on each side^\\nwith hand lightly resting on her waist the other two\\nfall on one knee, r. and l. of Thriftie, with hands\\nraised to her waist. The Butterflies r. l.)\\nTableau. Music should be soft until the attention of the\\naudience is fixed.\\nBase pleasure-seekers, vain\\nAre your arts to tempt my faithful train.\\nTrue are their hearts when Thriftie leads the way\\nWith love they labor and with trust obey.\\nOff to your frolics we have staid too long\\nWe move to duty list our cheery song.\\n(Chorus. Hunting Song** repeated, during which\\nThriftie and Attendants march off, r.)\\nBright. Gold wing, your plot has failed.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0083.jp2"}, "84": {"fulltext": "78 THE REVOLT OP THE BEES.\\nGold, Nay, pause a while\\nI ll find a way these grubbers to beguile\\nThe zealous Thriftie is the model bee\\nNone so industrious in the hive as she\\nAnon well meet some more congenial soul,\\nWho ll gladly frolic on yon grassy knoll.\\nAnd here comes one with whom I gossip daily,\\nThe grumbler of the hive.\\nEnter Gaylie, and three Attendants^ R.\\nGood morrow, Gaylie.\\nGay, Ah, neighbor Gold wing, you re a merry elf;\\nYou have no care you never toil for pelf.\\n{They sit together on hanJc^ C.)\\nAnd yet no sister of our thrifty race\\nWears gayer garb, or shows such cheerful face.\\n(One of the Attendants moves up, stands behind Gaylie,\\nR., with hand on her shoulder. Brighthue does the\\nsame with Goldwing, l.)\\nGold, Ay, free from care am I at will to roam\\nO er hill and meadow, everywhere at home.\\nCome, Gaylie, join us in a sportive race\\nTwill smooth the wrinkles from your troubled face.\\n(Another Attendant sinks at Gaylie s feet, R., with her\\nlejl arm resting in her lap, looking into her face.\\nVaria does the same, L.)\\nGay. Nay, neighbor Goldwing, I must now away\\nOur gracious queen will brook no more delay", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0084.jp2"}, "85": {"fulltext": "THE REVOLT OF THE BEES. 79\\n0, for one hour of your gay, careless mirth\\nTwere brighter than the sunshine to the earth.\\n{Another Attendant kneels on the side of hank^ B., her\\nelbow on hank, head resting on her hand, Varia doe9\\nthe same, l.)\\nGold. Then shall the gayest revel be prepared,\\nAnd with you, neighbor Gaylie, freely shared.\\nO er yonder mead we ll frolic light and free,\\nAnd you the empress of our sports shall be.\\nYour presence will our gayety enhance.\\nList, Gaylie, to the music of the dance.\\n(Tableau. As arranged, Gaylie and the Attendants\\nlook, l., with a pleased, eager, listening expression.\\nThe Butter/lies watch Gaylie attentively. Trusta\\nsteals in, L., Warna, r., with fingers on their lips;\\nstop in entrance, and, leaning forward, appear to he\\nlistening. Soft music until all is still, then distant\\nchorus, In light tripping measure.\\nIn light tripping music, surrounded by pleasure,\\nWe count the gay hours that too hastily fly\\nHence, care and sorrow daren t come nigh, c.\\ntray. What joyous sounds 0, how I long to share\\nSuch merry pastime, free from toil and care\\nGold. Then come with us, leave toil and care behind\\nCome where the Butterflies enjoyment find\\nSpread wings, sail free the happiest are they\\nWho make of life a frolic and a play.\\nGay. (starting up all rise). I will, I wull no more\\na toiling bee.\\nYour free and roving life delighteth me.\\nOff to your sports I ll follow with my train.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0085.jp2"}, "86": {"fulltext": "80 THE REVOLT OF THE BEES.\\nWarna (comes forward). Hold, hold rash Gaylie,\\non your life refrain.\\nOay. Warna, what right have you to interfere\\nWarna, As guardian of the hive we hold dear.\\nI warn you, Gaylie, that a dire disgrace\\nFalls on the luckless member of our race\\nWho disobeys our Queen s supreme decree.\\nBeware, O Gaylie, lest it fall on thee.\\nGay, Warna, thou art a despot s willing slave.\\nAway your warning and her frown I brave.\\nWith these gay rovers to the dance I fly.\\n1st Att. ril follow, Gaylie.\\n2d Att. So will I.\\nSd Att. And I.\\nGold. Ho bravely said away on nimble wing,\\nFor pleasure beckons as we merrily sing.\\n(^Chorus repeated^ In light tripping measure^^^ during\\nwhich Gaylie and Goldwing, Spotila and Attend-\\nant^ Brighthue and Attendant^ Varia and Attend-\\nant^ march in pairs around stage to L.)\\nGold. I ve conquered now my joy is all complete.\\nGaylie once banished from her sweet retreat,\\nThe bees demoralized will warring strive,\\nIn factions, for possession of the hive.\\nMischief, thou trusty friend, in power arise,\\nAnd seal the triumph of the Butterflies.\\nWarna, O Gaylie, by the glories of our race,\\nI charge thee, pause, and shun this dire disgrace.\\nTrusta. Nay, Warna, you re too strict. Let Gaylie go^", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0086.jp2"}, "87": {"fulltext": "THE REVOLT OF THE BEES. 81\\nAn hour s sweet pastime in the air to know\\nI ll keep her secret, wait her safe return\\nThe absence of the truant none shall learn.\\nWarna. False guardian, cease, at duty s high decree,\\nFriendship can have no power to silence me\\nRegiua must upon the instant know\\nThis base attempt her sway to overthrow.\\nGaylie, Gaylie, by the love we bear,\\n1 pray you this unwelcome duty spare\\nThink of the thrifty name our hive has borne.\\nThink of our sisters, who your loss will mourn.\\nHomeward ere now they cheerful move along,\\nEasing their burdens with a happy song.\\n{Chorus. Summer Evening, during which enter r.,\\nThriftie and Attendants.)\\nBees with light wings move sprightly\\nHome to the welcome nest,\\nBearing their burdens so lightly,\\nOf treasure the sweetest and best.\\nAs we give songs, give songs of rejoicing,\\nThe hive we love is near;\\nLet us give praise, give praise and glad voicing,\\nThe home we love is here.\\nThriftie. Ah, sister Gaylie, twas a luscious treat\\nYon rich and flowery mountain side to beat.\\nSuch loads and loads of sweets, twill well repay\\nThe labors of our tribe for many a day.\\nGay. And what is this to me You drudging bees\\nMay pluck and store its richness, if you please.\\nWith these gay friends I mean to sport in air,\\nAnd, free from labor, all their pleasures share.\\n6", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0087.jp2"}, "88": {"fulltext": "82 THE REVOLT OF THE BEES.\\nWaima. O Thrift ie In some wild and wicked snare\\nOur once good Gaylie s fallen unaware\\nMocks at the orders of our gracious queen,\\nAnd rails at duty with a traitorous mien.\\nThriftie. Gaylie, forbear a dangerous path you tread\\nBy no deceitful counsellors be led.\\nGold, Be bold, fair Gaylie freedom is the stake.\\nWe are your friends you will not us forsake.\\nGay, Never Thriftie, I will toil no more.\\nEnter Queen, unperceived^ r., stands c. bach.\\nSlave to no sovereign whose despotic power.\\nSome task gigantic finds for every hour,\\nHenceforth I ll freely rove, myself a queen.\\nWith will as mighty, and with air serene,\\nAs she whom you obey. Now off I fly.\\nWho dares to check my progress\\nQueen (^stepping forward). I.\\nAll The Queen\\nQueen, Ay, loyal subjects, here\\nYour Queen appears. Tis time to interfere.\\nVile discontent, the curse of happy hives,\\nTo raise a fierce revolt insanely tries.\\nUnseen, unknown, I ve witnessed all its course,\\nAnd now to check it bring a last resource.\\nGaylie, thou traitress, leader of a host\\nOf all my subjects loved and trusted most.\\nThese wily Butterflies, so debonair.\\nHave of thy weak complainings made a snare.\\nTheir life they picture as so bright and gay.\\nIs short and vapid, lasts but for a day", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0088.jp2"}, "89": {"fulltext": "THE REVOLT OF THE BEES. 83\\nWhile we, by labor, energy, and worth,\\nLong live and prosper and o er all the earth\\nOur busy traffic, with its proud renown,\\nSets brightest ornaments in labor s crown.\\nThou hast rebelled against our righteous laws,\\nAnd cast a foul reproach upon our cause.\\nAway Thou wouldst be free. I here renounce\\nAll claims, and doom of banishment pronounce.\\nGay. (falls at her feet). No, no, not that;\\nO, gracious Queen, forbear.\\nHere, at your feet, I do implore you spare.\\nTwas folly s promptings, pleasure s wild desire,\\nThat, all unchecked, rebellion did inspire.\\nGold, Gaylie, forbear let not those drudging bees\\nBehold our chosen empress on her knees.\\nGay. Tempter, away thy flattery is base\\nToo late I read thy falsehood in thy face.\\nO, gracious Queen, withdraw thy fell decree\\nLet me a toiler with my sisters be\\nNo wild desire, no feverish unrest.\\nShall tempt me from the haven of our rest.\\nQueen, It cannot be.\\nThriftie, My prayers I lend.\\nTrusting, O, gracious Queen, thy will to bend.\\nPlace Gaylie in my charge I ll stake my life\\nMy teachings will o ercome all thoughts of strife.\\nQueen. I do relent. Gaylie, thy place no more\\nCan be a leader s. Henceforth, as of yore,\\nWithin the ranks of those who burdens bear,\\nThou must their service and their duties share.\\nThis be thy punishment. But by the love\\nWe bear thee, Gaylie, thy repentance prove.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0089.jp2"}, "90": {"fulltext": "84 THE REVOLT OF THE BEES.\\nGay, Thanks, gracious mistress let my actions speak\\nYour favor to regain will Gaylie seek.\\nGold, Gaylie, thou false one, pleasure calls. Farewell\\nThink of our pastimes in thy gloomy cell.\\n[_Exeunt^ L., Gold wing, Brighthue, Varia, and\\nSpotila.\\nQueen, Idlers, away disturb no more our drove,\\nBut to your gay and senseless follies move\\nAnd now to work Gaylie s revolt is o er\\nInto our hive your choicest treasures pour\\nAnd as you strive our products to increase,\\nWith industry, the germ of joy and peace,\\nRemember not alone in garnered show\\nOf wealth does she her bounteous harvests know.\\nBut that true hearts may find, in every task.\\nPleasure more lasting than the tongue can ask;\\nIts busy hum is music s gayest measure.\\nAnd love of labor is its richest treasure.\\n{^Chorus. -4 Wish for the Mountains*^)\\nWhere the flowers are hills adorning\\nWhere the clover beds unfold,\\nWhere the early rays of morning\\nRim the leaves of green with gold,\\nWhere the brightest roses grow,\\nThither, thither will we go.\\nThither, thither will we go.\\n{Bepeat chorus; then march off^ Warna and Trusta,\\nQueen, Thriftie, and Gaylie, their Attendants^ l.)\\nNote. The tunes used in this allegory may all be found in\\nThe Grammar School Chorus, used in Boston schools. It\\ncan be obtained of the publishers, Lee Shepard. Price $1.00.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0090.jp2"}, "91": {"fulltext": "A TENDER ATTACHMENT.\\nCHAKACTERS.\\nMr. Clapboard, Proprietor of Bachelors* Paradise.\\nEbenezer Crotchet, a retired manufacturer.\\nHorace Crotchet, his son.\\nPeter Picket, a soldier.\\nObed Oakum, a sailor.\\nTimothy Tinpan, a tinker.\\nLouis Loopstitch, a tailor.\\nCOSTUMES.\\nClapboard, gray wig, brown coat, dark pants.\\nEbenezer, gray wig, blue coat with brass buttons, dark pants,\\nhat, and cane.\\nHorace, modern suit, neat and tasty.\\nPeter, United States army overcoat, fatigue cap, red wig, red\\nside whiskers.\\nObed, light Yankee wig, pea-jacket, tarpaulin hat, wide jailor\\ntrousers, blue shirt.\\nTimothy, black crop wig, smutty face, oreralls, and woollen\\njacket.\\nLouis, tight black pants, with short legs, slippers, white stock-\\nings, black coat, with short arms, buttoned to the throat, black\\ncravat, without collar.\\nScene. Apartment in Mr. Clapboard s home. Lounge\\nC, hack. Black velvet hreakfast-jacket and smoking-cap\\nlying across the corner. Small iable^ R. Chairs^ R.\\nand L. Entrances^ r. and l.\\n85", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0091.jp2"}, "92": {"fulltext": "86 A TENDER ATTACHMENT.\\nEnter Mr. Clapboard, r., followed hy Ebenezer\\nCrotchet.\\nClai:ihoard, This is the room, sir.\\nEhenezer, O, it is This is the mysterious abode of\\nmy runaway son. Well, I don t see anything very invit-\\ning here a few miserable chairs, a rickety lounge, a\\nmean little table\\nClap, Come, come, sir don t abuse my furniture.\\nEhen. O, pooh, pooh What business have you har-\\nboring a runaway scamp who ought to be at home, you\\nold, gray-headed ruffian\\nClap, Come, come, sir once for all, I won t be\\nabused in my own house. If your son chooses to hire a\\nroom in my house, to pay handsomely for the same, and\\nto behave himself in a gentlemanly manner, here he stops\\njust as long as he pays, you old heathen.\\nEhen, Old heathen Confound you, do you know\\nwho you are talking to, Mr. Claptrap\\nClap, Clapboard, sir Clapboard is my name.\\nEhen. Do you know who you are talking to\\nClap. I ve a pretty good idea. Some fiery old lunatic\\njust escaped from Bedlam.\\nEhen. Fire and fury I ll break this cane over your\\nhead, insolent\\nClap, Do and then I ll throw you and the pieces\\ndown those stairs, catamount\\nEhen. (Aside.) O, this won t do. {Aloud.) I beg\\nyour pardon, Mr. Claptrap.\\nClap. Clapboard, sir.\\nEhen. Mr. Clapboard, I was a little hasty. You\\nmust attribute it to the anxiety of a devoted parent, I\\nhave a son.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0092.jp2"}, "93": {"fulltext": "A TENDER ATTACHMENT. 87\\nClap, So I understand.\\nEhen. A week ago he left the parental mansion, for\\nthe purpose, as he said, of recruiting himself at a quiet\\nplace in the country. All very well, of course. I could\\nbring nothing to say against that but yesterday I re-\\nceived an anonymous note, mailed at this place, bidding\\nme look out for my son, who, the note said, had formed\\na tender attachment. Do you hear a tender attach-\\nment\\nCla-p. Well, what of it?\\nEhen, What of it? Hear the man! Sir! Mr.\\nClaptrap\\nClaip, Clapboard, sir.\\nEhen. Mr. Clapboard. Ten years ago I retired from\\nthe soap and candle business with a fortune. This boy\\nis my only son young, impulsive, thoughtless, he has\\ncome to the country his susceptible heart is a target, at\\nwhich a thousand loving glances will be thrown by the\\neyes of rural beauties\\nClap, Humbug There isn t a female within three\\nmiles of the place. This is called Bachelors* Para-\\ndise. There s Jobson s house, Seymour s, and mine\\nspecially erected for the convenience of artists, fishermen,\\nand such like gentry, who want a quiet place in the\\ncountry.\\nEhen. Is it possible I Then my son s tender attach-\\nment\\nClap, It s some trick played to frighten you.\\nEhen, Perhaps it is, but I have my doubts. Who\\nlodges in this house besides my son\\nClap, Well, sir, on the floor below, there s Mr. Tim*\\nothy Tinpan, a nice, gentlemanly tinker.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0093.jp2"}, "94": {"fulltext": "B8 A TENDER ATTACHMENT.\\nEhen. A tinker? {Aside,) Bachelors Paradise\\n{Aloud,) Gentlemanly humbug Who else\\nClap, The next floor above is occupied by Mr. Peter\\nPicket, a military gentleman, who served his country in\\nthe great rebellion.\\n^Ehen. A soldier {Noise outside.) What s that\\nClap, That s him. He s always going through his\\ntactics. He dropped his gun.\\nEhen, Did he Then Mr. Peter Picket had better\\npick it up. Well, who else\\nClap. Next above him is Mr. Oakum, a well-man-\\nnered mariner, engaged in the lumber trade.\\nEhen, Is that all?\\nClap. No, sir the floor above him, next the roof, is\\noccupied by Mr. Loopstitch, a tailor, a native of France.\\nEhen. Soldier, sailor, tinker, and tailor Here s nice\\ncompany for my boy.\\nClap. O, they re a nice, gentlemanly set, I assure\\nyou very quiet. Mr. Picket is apt to be a little rest-\\nless nights walks in his sleep and sometimes wanders\\nabout the house with a loaded musket. Mr. Oakum is\\nof rather a musical turn, and has his bark upon the\\nsea a little too often. Mr. Tinpan is very fond of re-\\nhearsing his war-cry, Old kettles to mend and Mr.\\nLoopstitch is making frantic efforts to master the trom-\\nbone. But generally they are quiet, gentlemanly, re-\\nspectable individuals.\\nEhen. I should say so. And my son abandons his\\nluxurious home, his highly respectable connections, foi\\nsuch society as this?\\nClap, Lord bless you, young gentlemen have their\\nlittle freaks, you know?", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0094.jp2"}, "95": {"fulltext": "A TENDER ATTACHMENT. 89\\nEhen, And so have old gentlemen too. I have a very\\nsudden one myselt For how long has my son engaged\\nthis room?\\nClap. Let me see he has paid me for it up to six\\no clock to-niofht.\\no\\nEhen, And after that I suppose it will be to let.\\nClap. Of course. Though probably he ll keep it him-\\nself.\\nEhen, Hark you, Mr. Claptrap.\\nClap, Clapboard, sir.\\nEhen, Mr. Clapboard, I want to hire this room my-\\nself. What does my son pay you?\\nClap, Six dollars a week. Cheap enough.\\nEhen, All right. I ll engage it for a week myself, for\\nwhich I will pay you twelve.\\nClap, But, sir, he has the first choice.\\nEhen. No, he hasn t he s not of age. I am his\\nguardian, and I want it myself; so here s your money.\\nAt six o clock I shall come and take possession.\\nClap, But, Mr. Crotchet\\nEhen. No more words are necessary. You keep a\\nhouse for the entertainment of gentlemen who wish a\\nquiet place in the country. You certainly cannot refuse\\nso handsome an offer as I have made you.\\nClap. But your son\\nEhen. Has comfortable quarters at home, where he\\nbelongs. You can inform him of my appearance here,\\nand of the bargain I have made. Tell him to go home\\nand amuse himself that I shall positively take up my\\nquarters here at six o clock. {Aside.) There s some-\\nthing wrong here a tender attachment, I ll be bound", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0095.jp2"}, "96": {"fulltext": "90 A TENDER ATTAOBMENT.\\nand I m determined to find it out. (Aloud.) Good day,\\nMr. Claptrap. [^Exit^ r.\\nClap. Clapboard, sir Now here s a nice mess\\nWhat will Mr. Horace say to this, after he has goi\\neverything comfortably arranged for his purpose, to be\\nflustered in this manner. It s too bad\\nEnter Horace, r.\\nHorace. I say, Clapboard, why don t you light up\\nyour stairs? I nearly tumbled over an old chap just\\nnow, who was going down.\\nClap. Old chap, indeed Do you know who it was?\\nHor. Haven t the least idea.\\nClap. Well, sir, it was your father.\\nHor. My father Whew Then the old gentleman\\nhas found me out\\nClap. He certainly has but he s laboring under a\\nterrible mistake. Some one has sent him an anonymous\\nnote, bidding him look after you, for you had formed a\\ntender attachment.\\nHor. A tender attachment? That s some mischief\\nof the fellows at Jobson s. Well, what does he propose\\nto do?\\nClap. He s engaged this room.\\nHor. Engaged this room? Why, Clapboard, it s\\nmine isn t it?\\nClap. Until six o clock. If you ll remember, that\\nwas the time for which you took it.\\nHor. But I want it a w^eek longer.\\nClap. You re too late. He s engaged it, and paid for\\nit and will be here at six o clock to take possession.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0096.jp2"}, "97": {"fulltext": "A TENDER ATTACHMENT. 91\\nHor, Clapboard, you ve played me a shabby trick\\nClajp. I couldn t help it, sir he thrust the money iuto\\nmy hands said he was your legal guardian, and told me\\nto send you home.\\nHor. I ll not go until my work is finished. Well,\\nClapboard, let him come his stay shall be short.\\nClap, What will you do?\\nHot, That s a question for consideration. Six months\\nago my father and myself differed with regard to my\\nchoice of a profession. He wished me to be a lawyer.\\nI determined to be a painter. He was immovable in his\\nchoice. I was stubborn and sullen in mine. By mutual\\nconsent we dropped the discussion, agreeing not to renew\\nit for a year. I was at ouce filled with the desire to\\nproduce something that would induce him to agree with\\nme, believing that if I could show that I had talent, he\\nwould let me have my way. I immediately threw nay-\\nself into the society of artists, and by that means gained\\nan inkling of the rudiments of the profession, and I found\\nI had some talent. But how to convince my father? I\\nhit upon the idea of attempting a painting something\\nremarkable a great allegorical national picture, The\\nCrowning of Liberty, a magnificent idea To carry it\\nout, I required a studio and living models. I read your\\nadvertisement of Bachelors Paradise came down,\\nengaged a room, fitted it up, and looked around for\\nmodels. But, alas it was indeed a bachelors para-\\ndise Not a female figure within three miles Of\\ncourse I was obliged to put up with the stock on hand\\nand with a soldier, a sailor, a tinker, and a tailor, as the\\nonly models to be obtained, I have been obliged to draw", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0097.jp2"}, "98": {"fulltext": "92 A TENDER ATTACHMENT.\\nupon faucy to an alarming extent and now it seems I\\nam to be deprived of them by my meddling, inquisitive,\\ngood old daddy.\\nGlajp, It s too bad, Mr. Horace. I wish I could help\\nyou out of the scrape.\\nHor, I wish you could. But as you can t, suppose\\nyou go and hunt up my models, and let me get to work.\\nClap, Certainly, sir I ll send them in at once.\\n[Exit^ R.\\n(Horace takes off his coat and puts on breakfast\\njacket and smoking-cap^ then goes ojf, L., and re-\\nturns with an easel^ which he sets up, l., then goes\\nofff L., and brings in canvas^ brushes^ and palette;\\narranges the canvas on easel to face l., places\\nchair l.\\nClap, {Outside^ R., while Horace is arranging his\\npicture,) Hallo, down there, Tinpan\\nTimothy, (Outside^ as if down stairs,) Faith, now,\\nwhat s wanting, sure?\\nClap, You re wanted here.\\nTim, All right. Be aisy, honey, till I mind the nose\\nuv this tay-kittle.\\nClap, Hallo, Picket\\nTicket, (As if up stairs,) Yaw, mine fren.\\nClap, You re wanted in the studio.\\nTic, Yaw, dat ish goot. I ll come right avay pefore\\nsoon.\\nClap, Hallo, Oakum\\nOakum, (Upstairs.) Hallo, yerself\\nClap, Come down for a pose.\\nOak, Ay, ay. Clapboard in a jiffy.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0098.jp2"}, "99": {"fulltext": "A TENDER ATTACHMENT. 93\\nClap, Hallo, Loopstitch\\nLoopstitch. {In the distance.) Oui, oui, monsieur.\\nClap. You re wanted for a posish.\\nLoop. Vat you mean by dat, eh? Vot you call posish?\\nI no comprehend.\\nClap. Well, come and find out.\\nHor. The models are aroused. Now for a season of\\ninspiration\\nEnter Picket, e., with a musJcet.\\nPic. Ah, Meester Horace, how you vas? Berty\\nmooch\\nSor. Ah, Picket, you re right on hand.\\nPic. Yaw, yaw I ish coomed right along, by donder,\\nmit mine gun upon mine pack.\\nMor. Like a true hero, and with the martial spirit in-\\nspiring your bosom hey\\nPic. Yaw, I shpose vat you mean, but I don t know.\\nEnter Oakum, r.\\nOak. Hallo Heo w are yeou anyheow Goin at\\nthe picter ag*in?\\nHor. Yes I believe I can make my brush fly this\\nafternoon.\\nOak. Wal, yeou painter chaps dew beat all creation\\nthat s a fact. I s pose yeou know what yeou re abaout\\nbut darn me if I can see into it. What s the use er wast-\\nin yer time a fliugin away paint on that air diminutive\\nquiltin -frame. Would do more good ef yeou d give old\\nClapboard s house a coat it wants it bad enough", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0099.jp2"}, "100": {"fulltext": "94 A TENDER ATTACHMENT.\\nEnter Loopstitch, r.\\nLoop. Sacre vat for you want hey? I have break\\noff mine thread right in de meedle of ze pantaloons.\\nHor. You remember our bargain. You were to be\\nat my service when wanted.\\nLoop. Service? Sacre, zis is too much all ze time.\\nMonsieur Fusee have no pantaloons he make ze trou-\\nble, ze fuss he raise vat you call ze storm, if he no have\\nze pantaloons.\\nOak. Well, let him sweat, Frenchy. I ll lend him a\\npair.\\nEnter Timothy, r.\\nTim. Arrah, b ys, how are yees, ouyhow? It s the\\ntip liv the morning till yees, Misther Horace.\\nOah. Hallo, Tim! How s trade?\\nTim. Thrade, is it? Bad luck to its There s none\\nat all at all. It s loike the nose of Paddy Flinu s pig\\nit s away down in the mud.\\nOaJc. Well, here s hoping that, like Paddy Flinn s\\npig, ^t may pick up a bit.\\nTim. That s thrue for ye, Misther Oakum.\\nHor. Now, then, let s to work. Tinpan, you and\\nLoopstitch don your habiliments, and we ll go to work.\\nTim, Don which is it\\nLoop. Sacre I no comprehend.\\nOak. Darn it, Tim, jump into the Goddess of Liber-\\nty s clos and, Loopstitch, put on that air gown of Vic*\\ntory s.\\nTim. Begorra that s a sinsible way of putting things.\\nlExit^ L.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0100.jp2"}, "101": {"fulltext": "A TENDER ATTACHMENT. 95\\nLoop. Victory Oui, oui I compreheud victory.\\n[Exit, L.\\nOah. Sich a set of darned stupid furriners I never\\ndid see.\\nPic. Yaw dey ish very hard of hearing, by donder\\nOak, Well, Picket, you managed to give us a pretty\\ngood. scare last night, walking round with that old blun-\\nderbuss Ef yeou ain t keerful, jeou U let fly at some\\non us, and then there ll be a purty case of manslaughter.\\nPic. Yaw manslaughter ish goot. I like him mooch\\nven I fights mit Sigel. By donder I tink of dat ebery\\nnight in mine shleep, and I no shleep at all.\\nOak. Well, consarn yeour picter deon t yeou come\\nup my way if yer du, I ll souse yer head in a bucket\\nof tar\\nPic. Yaw I no like dat purty well.\\nEnter Timothy, l., dressed as the Goddess of Liberty\\nred skirt mail waist blue drapery about shoidders.\\nTim. Begorra how s that for a famale woman?\\nWhat would Judy O Flanagan say to that? Tim Tinpan\\nin a red petticoat? Whoo kittles to mind, kittles to\\nmind\\nEnter Loopstitch, in a long ivhite goiun^ with a green\\nwreath in his hand.\\nLoop. Sacre I feel all over like vat you call ze\\ngoost.\\nOak. And darn me if you don t look like one\\nLoop. Vat you mean by dat hey, Monsieur Oakum?", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0101.jp2"}, "102": {"fulltext": "96 A TENDER ATTACHMENT.\\nHor. Gome, now take your places.\\nTim. All right; away wid yees. {Takes position in\\ncentre of stage left hand against his breast, right hand\\npointing up,)\\nHor, That s right now Victory. (Loopstitch gets\\nupon a stool behind Timothy, and holds wreath over his\\nhead.) Very well. Now, then, for the army and navy.\\n(Picket stands r. of Timothy, leaning upon his mus-\\nket Oakum stands l., his arms folded.) Good,\\ngood Positions are all right. Now, then, for the\\nexpressions.\\nTim. Hould on a minute there s something crawl*\\ning up my back.\\nHor. Never mind, never mind\\nTim. But I do mind. It s biting me, the ugly thief!\\nHere, Frenchy, give me a dig in the back.\\nLoop. Sacre vare vill I find vat you call de spade?\\nOak. Here I ll fix you. (^Gives Timothy a thump\\non the back.)\\nTim. Murder and Irish you ve broke my ribs\\nSor. Come, come, Tim put a smiling expression\\nupon your face.\\nTim. Smile, is it, with a hornet crawling up my\\nback\\nHor. We re wasting time. Smile, I tell you.\\nTim. Well, then, here goes. (A horrible smile.)\\nHor. Now, Loopstitch, triumph in your face.\\nLoop. Oui, oui. Vive la triomphe\\nHor. That s very good. Now, Picket, let a martial\\nspirit glow in your face.\\nFie. Yaw, yaw. (Starts, r.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0102.jp2"}, "103": {"fulltext": "A TENDER ATTACHMENT. 97\\nHor, Where are you going?\\nPic, For miue lager, mit de spirit up stairs.\\nHor, No, no you don t understand me. Look as\\nyou looked when you met the rebels, fierce for the fight.\\nPic, Yen I fight mit Sigel\\nHor, Yes as you did then, do now.\\nPic, Yaw den I ll go right up stairs.\\nHor, What do you mean?\\nPic, Yen I fight mit Sigel, ven de repels coom, ve\\nrunned away.\\nOak, What a darned sneaking coward\\nTim, Easy, now, Mr. Horace my hand s getting\\ntired.\\nHor, Let me see what I can do. (Goes to easel^ and\\ntakes brush,) Now, steady, all.\\nTim, Och, murder the crayture s crawhng up my\\nback again\\nPic, I am ash dry ash never vas.\\nHor, Steady, steady\\nTim, Ow, my back Give me a dig, Frenchy.\\nOak, Confound you, I will (Hits Timothy in the\\nstomachy who doubles up,)\\nTim, Ow, murther, murther (Backs into Loop-\\nstitch, who tumbles over, Ti3I0thy runs up and doiun\\nstage holding,)\\nLoop, Sacre you have broke me all to pieces.\\nHor, Order, order How do you suppose I can paint\\nwith such confusion? You have spoiled everything.\\nTim, Faith, it s not myself that s to blame.\\nOak, Darn him he s got a nest of hornets under hia\\njacket 1\\n7", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0103.jp2"}, "104": {"fulltext": "98 A TENDER ATTACHMENT.\\nHor, We can do nothing to-day. It s now nearly six\\no clock. An individual will be here at six to take pos-\\nsession of my room he has hired it, and I mast vacate.\\nOah, What, hired the room over your head?\\nHor. Yes it s a little plot of my father s to get me\\nhome again. If he stays here, I must give up my paint-\\ning and of course you will be wanted no more as\\nmodels.\\nLoop, Sacra zat is too bad ver mooch too bad\\nTim. Faith must I lose my sitivation?\\nPic, Yaw we can t come here some more\\nHor, That s exactly the state of the case. Of course,\\nas he s my father, it will not do for me to take any meas-\\nures to cause him to leave. With you it is different. If\\nyou can manage to make him sick of his bargain to-\\nnight, we shall resume operations to-morrow, as usual.\\nOah, Darn him, we ll pitch him out of the winder!\\nHor, No, no no violence\\nTim, No, b ys no voilence. We ll break his head\\nintirely That s all.\\nHor, He s very particular to have everything about\\nhim quiet. I offer no suggestions. If you can manage\\nto scare him a little, I ve no objections.\\nTim, Faith, lave us alone for that.\\nOak, Come to my room, boys we ll fix the old skin-\\nflint Come along.\\nTim, Yaw flint ish goot ven I fight mit Sigel.\\nOah, O, never mind Seagull. Come along.\\nLoop, Sacre Yat you fix his flint with? I no com-\\nprehend.\\nOah, I ll fix everything all right. Leave it to me.\\nCome along. \\\\_Exit^ B.\\nI", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0104.jp2"}, "105": {"fulltext": "A TENDER ATTACHMENT. 99\\nTim, I m wid jees. If there s to be a shindy, count\\nme in, \\\\_Exit^ r.\\nLoop. Monsieur, I be vat you call in ze dark ver\\nmuch all over.\\nFie, Yaw, it pe all covered mit de dark like de moon\\nshine. \\\\_Exit Loopstitch and Picket, r.\\nHor. What a set of stupid donkeys If they manage\\nto circumvent my respected parent, I ll forgive them.\\n{Exchanges jacket for coat^ and puts on hat. Stage\\ndark,) How dark it is\\nClap. (Outside^ R.) You re very prompt, sir.\\nEhen. (Outside^ R.) I am always prompt. Is the\\nroom ready?\\nClap, (^Outside^ R.) Yes, sir; walk this way.\\nHor, There he is, right on time. There s sure to be\\na rumpus, and I m bound to see the fun. [_Exit^ L.\\nEnter Clapboard, with a lighted candle^ which he places\\non table, followed by Ebenezer.\\nEben, Now, sir, I ve caught you at your tricks\\nWhy, he s gone\\nClap, Why, you certainly didn t expect to find him\\nhere.\\nEben, I certainly did. Where is he?\\nClap, He s probably at Jobson s, over the way. But\\nhe ll be back soon. He ll be delighted to see you.\\nEhen, Clapboard, you lie you know he won t.\\nClap, Come, come, Mr. Crotchet, don t insult a man\\nin his own room.\\nEben, Tis false it s my room and you may take\\nyourself out of it just as soon as you can\\n2", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0105.jp2"}, "106": {"fulltext": "100 A TENDER ATTACHMENT.\\nCla p. You don t mean to stay here\\nEhen. Yes, I do. I ve had another note from my\\nunknown correspondent. The object of his tender at-\\ntachment visits him every evening, and I m bound to see\\nher.\\nClap, 0, pshaw, Mr. Crotchet you ve been hum-\\nbugged\\nEhen. I know it but I ll be humbugged no longer\\nso here I ll stay to unmask the hypocrite\\nClap, Well, stay, then but if you re made uncom-\\nfortable, don t blame me.\\nEhen, What do you mean?\\nClap, No matter I ve cautioned you. Keep your\\neyes open, and don t blame me. Kemember you have\\nbeen cautioned. Good night. [^Exit^ r.\\nEhen, Clapboard, Clapboard What does he mean?\\nCan there be any danger I m an old fool What\\nbusiness have I down in this unfrequented place, all\\nalone? I ll go back. No, I won t! Horace would\\nlaugh and chuckle He shan t do that Who s afraid?\\nI ll make myself comfortable on that lounge and when\\nhe comes, he shall learn how terrible is the vengeantje\\nof an enraged and injured parent. {^Reclines upon\\nlounge. Noise overhead; jumps up,) What s that?\\nIt s that infernal soldier Clapboard said he walks in\\nhis sleep. Suppose he should come here with a\\nloaded musket too Gracious! (^Tromhone heard out-\\nside.) There s the tailor practising. What a confounded\\ndin\\nOah, {Sings^ ojitside^ very loud,) My bark is on the\\nsea.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0106.jp2"}, "107": {"fulltext": "A TENDER ATTACHMENT. 101\\nEhen, There s that sailor going it\\nTim, {Outside, sings.) Ould kittles to mind OuRi\\nkittles to mind\\nEhen, And there s the tinker. {Tromhone^ ould\\nkittles, and hark upon the sea, all together,) What\\na confounded din I wish I was well out of it.\\nEnter Picket, with musJcet, slowly, on tiptoe.\\nPic. Who goes dare?\\nEl en, O, heavens There s that insane old grena-\\ndier What will become of me\\nFie, Sh By donder, I see some noise Sh\\nWho goes dare Sh Somepody mit a gun. Ad-\\nvance pefore you speak, and say something. Sh\\n{Creeps ahout the room on tiptoe,)\\nEhen. {On lounge,) If he discovers me, I am a lost\\nman\\nPic. By donder, if dare ish nopody here, vy don t you\\nspeak? You vant your coat-tails shot through mit a\\npullet. {Creeps hack to door, r.) I fight mit Sigel.\\nSh By donder I never hear so mooch silence pe-\\nfore \\\\_Exit, R.\\nEhen, He s gone. I breathe again. O, Lord, what s\\nthat? (LooPSTiTCH in the white rohe passes slowly across\\nstage, from r. to L., with his arm outstretched, hand\\npointing straight he/ore him. Exit, L.) An apparition\\nWhat infernal place have I got into? Til go home at\\nonce. {Goes to r. The door is locked, Loopstitch,\\nwithout the rohe, creeps in, L., and gets hehind lounge,)\\nLoop. Sacre I vill give him a touch of my needles\\nEhen. What an old donkey I am, to get into such a", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0107.jp2"}, "108": {"fulltext": "102 A TENDER ATTACHMENT.\\nscrape What shall I do I can t get out. Suppose 1\\nalarm the neighborhood 1 That won t do I should\\nhave the whole set upon me. I ll try to sleep. (^Lies\\nupon lounge, Loopstitch leans over and runs a needle\\ninto his arm,) O, murder What s that? Confound\\nthis infernal place (Loopstitch sticks another needle.)\\nO, my arm, my arm {Jumps up,) I can t stand this\\nHere Help, help, help, help\\nEnter Oakum, r. Creeps in very mysteriously takes\\nEbenezer hy the tvristj and leads him down to the front\\nof the stage.\\nOah. Silence! Sh\u00e2\u0080\u0094\\nEhen. O, take me out of this I m a poor old man.\\nOah, Silence Sh Listen to me. You re-\\nceived a note from somebody\\nEhen, Yes, I did. Confound somebody\\nOah. Silence! Sh\u00e2\u0080\u0094 Tender attachment It s\\nall true, by jiminy\\nEhen. I knew it.\\nOah. Your son has a tender attachment. The ob-\\nject of it is approaching. It will soon be here.\\nEhen. You don t say so\\nOah. Old man, you have a son that son has a ten*\\nder attachment the object of that tender attachment\\nsh will soon be here.\\nEhen. Confound you, you said that before\\nOah. Be wise, be cautious, and you shall triumph.\\nSilence It comes the object comes Creeps\\noff, R.)\\nEhen. Well, that s the queerest customer that ever I\\nmet. Hallo who s this", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0108.jp2"}, "109": {"fulltext": "A TENDER ATTACHMENT. 103\\nEnter Timothy, dressed as the Goddess of Liberty^ with\\na veil thrown over his face.\\nTis she, at last Now to unmask the villain\\nTim, Idol of me sowl\\nEhen. Irish, as I m alive\\nTim. Och, yees illigent darlint and did yees think\\nyer own Kathleen, accushla, would deny yees the comfort\\nof her prisence\\nJEhen, So, madam, you are found out Know, to\\nyour sorrow, that you stand in the presence of the father\\nof the unhappy young man you came to meet\\nTim. It s the ould man is it? Faith, ould chap,\\nhow is yes, onyhow?\\nEhen. Insolent\\nTim, It s a foine-lookiug ould fellow yees are and\\nis that yer own hair, or is it a wig, I d like to know.\\nEben. Young woman, no more of this. I came to\\nsnatch my son from your society.\\nTim, My society Faix, yes might do better. It s\\na comfort I am to him anyhow. You would be afther\\nparting us at all at all\\nEhen. Hold your tongue, and leave the room\\nTim. Hould yees blarney yerself, or I ll I ll pull\\nthe hair from your head\\nEben. Leave this room, instantly, or I ll put you out\\nTim. You put me out, is it Begorra the sooner\\nyees commince that same, the better s to the liking of\\nTim Tinpan.\\nEben. {Taking hold of him.) Leave the room, I\\nsay I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0109.jp2"}, "110": {"fulltext": "104 A TENDER ATTACHMENT.\\nTim, Off wid yees, or Til break ivery bone in yees\\nbody\\nEhen. You will will you? {Takes hold of him.)\\nTim, {Throws off veil,) Arrah, boys, here s a shin-\\ndy Come on, old gint {Flourishes his fist)\\nEben, Here Help, help, help (Timothy clinches\\nhim,) Leave the room\\nEnter Horace, l., Oakum, Clapboard, and Picket, b.\\nLooPSTiTCH crawls from behind lounge,\\nHor. Why, father what s the matter\\nEhen, O, you villain you scamp you renegade\\nYou have come just in time to save your father from a\\nterrible fate But I ve found you out I Your tender\\nattachment is known to me. Look upon her Can\\nyou look upon your father s face, and confess a tender\\nattachment to such a thing as that?\\nHor, Not a tender attachment, father but I will con-\\nfess I am under great obligations to that individual, Tim-\\nothy Tinpan, the tinker.\\nEhen, What is that woman a man\\nTim, Troth, and a foine ould Irish gintleman\\nHor. Yes, father, he is one of my models.\\nTim. Faith, a model Irishman, by yer lave\\nEhen, Models What do you mean\\nJHor. That I have been endeavoring to overcome your\\nrepugnance to my becoming a painter, by attempting the\\nexecution of a painting which you see upon that easel.\\nThese individuals have been my models. Timothy Tin-\\npan, the tinker.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0110.jp2"}, "111": {"fulltext": "A TENDER ATTACHMENT. 105\\nTim. That s me, sure.\\nHor. Obed Oakum, the sailor.\\nOak, Ay, ay second mate of the Harriet Jones*\\nHor. Louis Loopstitch, the tailor.\\nLoop, Oui, oui sal I make you a pair of pantaloons,\\nmonsieur?\\nHor, And Peter Picket, the soldier.\\nFie, Yaw, dat ish me, mit my gun upon mine\\npack.\\nEhen, What, and the note I received\\nHor. Is one of Harry Jones s jokes. He confessed it\\nto me an hour ago.\\nEhen, Clapboard, we ve been making donkeys of our-\\nselves\\nClajp. Speak for yourself, Mr. Crotchet, I can t join\\nyou in that.\\nEhen, Horace, I m a meddling old fool. I should\\nhave trusted you. I ll go home. You may go on with\\nyour picture and if out of the material which I find here\\nyou can produce anything satisfactory, TU give my con-\\nsent to anything you ask.\\nHor. Thank you, father. I m rather discouraged at\\npresent but if these individuals can cure you of a ten-\\nder attachment, they may be of use to me and if they\\ncan help me to achieve my purpose, you will be obliged\\nto admit that there are worse companions than a sol-\\ndier\\nPic, Yaw, what fight mit Sigel.\\nHor, A sailor\\nOah, Tarnal cute, when his bark s on the sea.\\nHor, A tinker", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0111.jp2"}, "112": {"fulltext": "106 A TENDER ATTACHMENT.\\nTim, A broth of a boy for minding the broken nose\\nof a tay-kittle.\\nHor, And a tailor\\nLoo p, Oui, oui vith vat you call ze tender attach\\nment for ze needle.\\nDisposition of Characters at fall of the Curtain.\\nLoop. Pick.\\nTiH. Oak.\\nHoH. Clap.\\nEbsk.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0112.jp2"}, "113": {"fulltext": "AMONG THE BEEAKER8\\nA DRAMA IN TWO ACTS.\\nCHARACTERS.\\nDavid Murray, Keeper of Fairpoint Light.\\nLaebt Divine, his Assistant.\\nHon. Bruce Hunter.\\nClarence Hunter, his Ward.\\nPeter Paragraph, a Newspaper Reporter.\\nScud, Hunter s colored Servant.\\nMiss Minnie Daze, Hunter s Niece.\\nBess Starbright, Cast up hy the Waves.**\\nMother Caret, a reputed Fortune -Teller.\\nBiDDT Bean, an Irish Girl.\\nCOSTUMES.\\nHuBRAT (age 46). Full black beard, iron-gray wig, dark pant\u00c2\u00ab,\\nred or blue sailor s shirt, with black necktie, pea-jacket, and\\ntarpaulin hat.\\nLarry (age 25). Red crop wig, pea-jacket, dark pants, red of\\nblue sailor s shirt, and tarpaulin hat.\\n107", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0113.jp2"}, "114": {"fulltext": "108 AMONG THE BREAKERS.\\nHunter (age 45). Dark English side whiskers, iron-gray wig,\\ndark, fashionable suit.\\nClarence (age 21). Janty yachtman s suit.\\nParagraph (age 30). Black crop wig, large red mustache,\\ngray pants, white vest, black velvet coat, light hat, umbrella.\\nScTJD (age 40). Gray woolly wig, black face, green plaid pants^\\ngaiters, white vest, ruffled shirt front, standing coIUTv blue\\ncoat with brass buttons.\\nMiss Daze (age 20). Fashionable dress of summer fabric,\\nFlorida hat, white crape shawl, parasol.\\nBess (age 18). Short red dress, muslin waist, neat polka\\njacket, flowing hair, janty sailor hat.\\nMother Caret (age 40). Disguise of an old fortune-teller.\\nLong, white hair, wig, dress of dark stuff, red shawl draped\\nabout her shoulders, crutch-cane. She hobbles, and has the\\nappearance of a woman of seventy.\\nBn DT Beak. Neat calico dress, apron.\\npn the storm scene, thunder, lightning, and rain are effective.\\nThunder is produced by shaking a large sheet of iron, holding it\\nby one corner, lightning by blowing powdered rosin into the\\nflame of a candle through a common pea-shooter. A rain\\nbox is made hy driving pegs of wood into the bottom of a box\\nabout eighteen inches long, six wide, and six high. Into the\\nbox throw a handful of dried pe%s, fasten on the cover, and\\ncopious showers can be produced by letting the peas slowly ral^\\nHe along the box from end to end.]", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0114.jp2"}, "115": {"fulltext": "AMONG THE BBEAKEBS. lOS\\nA.CT I. \u00e2\u0080\u0094Scene. Boom in the Light ke(^ier*8 house^\\nTable J C, set for supper. Long box or bench^ l.\\nBoching-chair^ R. Stool^ R. Door^ c, leading to the\\nbeach, the lighthousey c. Door, r., leading to the\\nkitche Door^ l., leading to Murray s sleeping room*\\nI4ABRY and Biddy discovered^ r. and l. of table^ eating.\\nBiddy. Faith, now, Misther Larry, it s joking ye*8\\nare.\\nLarry. Niver a once. There s not a live man widdin\\ntin miles, savin the masther, Misther Murray, mysilf,\\nowld Mother Carey, and Bess Starbright, the famale life\\npraserver, who can bate the worrld wid the pull uv her\\noars, and the light in the tower bey ant wid the glame of\\nher bright eyes. It s mysilf would like to be drownded,\\nfor the sake of being pulled from a wathery grave by that\\nsame darlint. And that s the extint uv fashionable\\nsociety at Fairpoint.\\nBiddy. Ye don t mane it. O, musha why did 1\\nlave the city for this wilderness of rocks and say\\nLarry. Why, d ye ask Because yer own thrue Irish\\nheart towld ye s that here would be found a broth uv a\\nD y pinin for famale society. O, Biddy Bane, yer a\\njewel, so ye are, and I dying wid the love I ve had for\\nfe s a twilvemonth, though I niver set eyes on ye afore\\nthe day.\\nBiddy. O, blarney, Misther Larry It s a smooth\\ntongue ye s have, onyhow. But till me, is the masthef\\nkind?", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0115.jp2"}, "116": {"fulltext": "110 AMONG THE BREAKERS.\\nLarry, V/ell, the laste said about him the betther\\nHe s the gloom upon him, and sometimes I think there s\\nsomething gnawin at his conscience. Well, well, I\\nmustn t talk. You ve only been here a day. Say for yesilf.\\nBiddy. Have ye lived here long, Misther Larry?\\nLarry, A matther of five or six years owld Murray\\nfifteen. The last kaper of the light was found dead one\\nmorning afther a stormy night, when the lamps were not\\nlit, and a ship drifted into the breakers and wint to paces.\\nNot a sowl saved except Bess Starbright, whom the waves\\ntossed up to Mother Carey s door.\\nBiddy, An who s Mother Carey I donno\\nLarry, An it s will ye don t, for to my mind she s\\nthe very you know what I mane. She lives on the\\nbache, and picks up a livin by tellin fates, and fortunes,\\nan sich like. It s a famous resort for the city folks in\\ntheir yachts, and she picks up many a silver bit from the\\nloikes of em.\\nBiddy, A witch is it? O, musha I ll pack up my\\nthrunk, and lave to onct.\\nLarry, O, no you won t, Biddy, darlint. She s no\\ntrouble to such a dacent, nate, bawitchin little sowl as y\u00c2\u00ab\\nare and, besides, here s a warm heart and a sthrong arm\\nto love and protict ye s d ye mind\\nBiddy, O, be aisy wid yer jokin I Ye bring the\\nfever to me cheeks.\\nLarry (rising^ and coming to side of Biddy). It s no\\njoke at all, at all. Ye ve come, like the darlint that\\nye are, to cheer my solitude, and swaten the cup uv life\\nwi the honey of yer prisence (puts his arm around\\nk^ oaist)^ and I love ye, Biddy Bane, so I do, ntirely.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0116.jp2"}, "117": {"fulltext": "AMONG THE BREAKERS. Ill\\nBiddy. Away wid ye s nonsense don t I tell ye.\\nEnter Mother Carey, c. Biddy jumps up runs, l.\\nBiddy (l.). O, murtherl who s that?\\nLorry (l.). Aisy, Biddy it s only Mother Carey.\\nMother Carey {comes down), Man, why sit you idle\\nLere See you not the black storm clouds gathering in\\nthe west Hear you not the whistling of the winds that\\ncreep across the sea the roar of the breakers on the\\nrocks the seething of the waves along the beach The\\nstorm fiend is abroad, and no warning light in yondel\\ntower. Away away ere tis too late.\\nLarry. By me sowl, you re right. A storm comin\\nand the lights not lit O, Biddy, Biddy it s all youi\\nwork \\\\_Exit^ c\\nMother G. (to Biddy). Ah, a new face in the old\\nlighthouse. Fresh and fair, buxom form, and strong\\narm. Who are you\\nBiddy. If you plase, marm misses Carey, Tm\\nnobody yes, I mane I m Biddy Bane come down from\\nthe city to do housework for Misther Murray.\\nMother G. But you tremble. Is it with fear?\\nBiddy. Yes, marm no, marm I\\nMother G, You need not fear me, Biddy. I m a poor\\nold woman, with little strength, and no power to harm\\nyou.\\nBiddy. Yes, marm but Larry says you re a witch I\\nMother G. He does I Ha, ha a witch Well, well,\\nLarry s clever, but don t believe all he says, though he\\npraises the brightness of your eyes and the tint of your\\ndieeks. A witch, inaeed I Larry s a fool I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0117.jp2"}, "118": {"fulltext": "112 AMONG THE BREAKERS.\\nEnter Larry, c.\\nLarry. Fm obleeged to yer for the complimeut, Mrthei\\nCarey, long life to ye s. {Comes down l. of Biddy.)\\nMother G. What nonsense have you been telling this girl\\nLarry, Pon me sowl, no nonsinse at all. I told her\\njre s towld fortunes and fates but barrin that little touch\\nof owld Satan, I ll swear ye ve a warm heart, to which\\nsame many a poor tar can tistify who s been Lilped by\\nyer when driven ashore.\\nMother G. Where s the master to-night, Larry\\nLarry. The masther, is it? Off on one uv his\\nthramps. He takes a moighty dale uv ixircisefor one\\nwid a shmall appetite.\\nMother G. {to herself). Restless as the sea pacing\\nthe sands for hours wandering among the rocks a\\nstern, gloomy, mysterious man within, a storm of evil\\npassions blinding his soul to all outward beauty revenge\\nflashing up among the dying embers of a fierce life, to be\\nsmothered by the ashes of remorse. Bad 1 bad 1 bad 1\\n{Turns up stage,)\\nBiddy, I say, Misther Larry, would ye be afther\\naxing her to till my fortune jist?\\nLarry. To be sure I would. I say, Mother Carey^\\nthis is Biddy Bane. Would ye s be afther tilling hei\\nfortune\\nMother G. Give me your hand, child. {Takes\\nBiddy s hand,) A fair, smooth hand.\\nLarry. Bedad, that s thrue, onyh3w That s ^hat\\nI said. Biddy, said I\\nBiddy, Howld yer pate.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0118.jp2"}, "119": {"fulltext": "AKONO TRE BKEAKEB8. 119\\nMother C Silence A fair, young hand the linei\\nof fate but indistinct, yet foreshadowing good fortune\\nah I see a lover not far off.\\nLarry, Bedad, Biddy, he s close at yer elbow.\\nBiddy. Whist yer blarney I Ye ll sphoil the charm.\\nMother C, I see a little home on the rocks.\\nLarry, A cottage by the say d ye mind, Biddy F\\nMother C. Troops of children\\nLarry. Young Larrys and Biddys, bedad, and a pig\\nd ye say a pig\\nBiddy. Be aisy, Masther Larry.\\nLarry. Look for the pig. Don t ye s hear him\\nsqualin\\nDavid (outside^ c). Hallo! Larry I Larry 1\\nLarry. There s the masther. Ay, ay, sir (Going\\ntowards door.) A lover, an a cottage Mother Carey,\\njist find that pig in Biddy s hand, or there s no luck in\\nthe fortune, sure.\\nBiddy. The masther s coming, and the table not\\ncleared 1 (Battles among the dishes at table Motheb\\nCarft retires up^ n. c.)\\nEnter David, c.\\nDavid, The boat s sawing her rope across the rock.\\nQuick, or she ll be adrift\\nLarry, Ay, ay, sir I ^Exit^ C.\\nDavid. There s a yacht beating around the point no\\ntime to spare yet she s quick, and I think will make it.\\nThat girl, Bess Starbright, has put off in her wherry, fear-\\nless of danger, to lend a helping hand. How is this, girl^\\nthe table not cleared?\\n8", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0119.jp2"}, "120": {"fulltext": "114 AMONG THE BREAKERS.\\nBiddy. Indade, sir, I couldn t help it. Mother Carey\\nhere was lilling my fortune jist.\\nDavid, Ah, Mother Carey, still at youi old tricks, de-\\nceiviiig the credulous with your boasted power. Out ca\\nyou, silly old fool Girl, bring a light\\nBiddy. To be sure I will. \\\\JExit^ R.\\nMother G. Better a fool than a knave, David\\nMurray.\\nDavid. What s that?\\nMother C. Boasted power David Murray, you\\nsneer, but I have the power to drive the flush from your\\ncheek, to make your knees tremble, and your heart\\nquake with fear, silly old fool that I am. I deceive You\\nsay this you, whose whole life is a deliberate lie I\\nDavid. What know you of me\\nMother C. Look. {Takes cup from table,) What\\neee you here?\\nDavid, Pshaw! that s an old trick, Mother Carey.\\nMother G. What see you here\\nDavid. Nothing an empty cup.\\nMother G. You re right an empty cup yet as I look\\ninto it, David Murray, it fills with tiny clouds that float\\napd roll together now expand, divide, and vanish, dis-\\nclosing a picture of the past. A room luxuriantly fur-\\nnished. On a bed lies an old man, thin, pale, wasted\\nwith fever. His eyes are fastened upon a young man,\\nwho watches at his side. He is dying. See a door\\nopei]^ a figure appears, in form and features so like the\\nold man, tis plain it is his son. He approa(?hes the\\nbed. The dying man s face flushes. He starts up,\\nraises lis hand, as though he would bless No, no, ihaf", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0120.jp2"}, "121": {"fulltext": "AMONG THE BREAKERS. Ill\\nangry gesture it is a curse, a bitter curse and now na\\nfalls back dead dead dead.\\nDavid {agitated). Woman, or fiend! where learnt\\nyou this?\\nMother C. {still gazing into the cup). Silence! The\\nclouds gather again thicker thicker thicker\\nand now they separate and vanish. There s the son\\nagain. A woman clings about his neck, begging, en-\\ntreating, praying. Useless there s an evil look in his\\neye, a wicked purpose in his heart. He pushes her\\naway. Again prayers, entreaties. Wretch! accursed\\nwretch She is his wife but, with a horrid oath, he\\nturns and fells her to the ground\\nDavid (agitated). Ha, ha! paint away, old Mother\\nDragon Your pictures begin, and end as they began,\\nin smoke. Well, what next\\nMother G, Again they gather thicker thicker\\nthicker. Again they roll away and vanish. Ah, tis\\nthe other now the young man who closed the eyes of\\nthe dying.\\nDavid {aside). Bruce Hunter!\\nMother G. He sits beside a cradle. In it sleeps a\\nchild a pretty little girl, rosy cheeks, long lashes, curly\\nkair. How pretty she is The man rises, listens, then\\nleaves the room. Now a window opens a man appears;\\nhis face is hidden by a veil He stealthily approaches\\nthe cradle raises the child in his arms. Heavens 1\\nwhere is the father? He moves towards the window.\\nNow he stops, listens, then raises the veil. I see hi*\\nface. Merciful Heaven it is\\nDavid (dashing the cup from her hand). Fool a\u00c2\u00ab", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0121.jp2"}, "122": {"fulltext": "116 AMONG THE BREAKERS.\\nmore of your jugglery Away I Home, and paini\\npictures in your own tea-cups. Spread them before\\nwomen weak enough to listen to the ravings of a\\ncrazy old fool.\\nMother C. Crazy. Right, David, I am crazy. My\\nbrain snapped one night, long, long ago, and so Vm\\ncrazy ha, ha You ve read much, David, though ycu\\nare but a poor lightkeeper. You remember the story\\nof the old archer who went mad when the noble de-\\nstroyed his daughter. They laughed at his ravings^\\nbut they found that when he bent his bow his arrow\\nflew straight to the mark. Poor, old, crazy archer\\nI m just like him, David, crazy, as you say, but my\\narrows always fly straight to the mark, straight to the\\nmark. [^Exit^ c.\\nEnter Biddy, r., with a candle^ which she places on\\ntahle^ and carries dishes off, r., leaving a pitcher of water\\nand two tumblers on table.\\nDavid (pacing the stage). Who is this woman?\\nAfter fifteen years silence, has an avenging Heaven\\nput into the mouth of an old hag daggers to pierce my\\nconscience Is she a witch My father s death-bed\\nmy deserted wife Hunter s child she saw them all.\\nThey came at her call faded at her bidding. Wretch\\nthat I am, I can conjure them, but they never disap-\\npear, never. Yet I was right. The old man wroDged\\nme cut me off from the possession of his wealth\\nmine by right. My wife offended me with her re-\\nproaches and entreaties and Hunter, curse him, robbed\\nme. of a father s love; coiled his flattering tongue about", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0122.jp2"}, "123": {"fulltext": "AMONG THE BREAKERS. 117\\nthe old man s heart, and, like a spaniel, licked his waj\\nto favor. What should have been miLe became his.\\nHe, the pauper s son, slipped into my inheritancGi\\nBut I was revenged. I snatched his darling from hei\\ncradle fifteen years ago, and since that time fathei\\nand child have never met. Yonder breakers, with their\\nangry voices, tell no tales and yet I dare not face\\nthem, for on their crests I ve seen amid the storm the\\nfeatures of a little child, with sad, sad eyes, come and\\ngo, come and go. O Heavens if I could but shut out\\nthat sight, close those eyes that haunt me everywhere.\\nRevenge is sweet, indeed, but remorse is terrible to\\nbear. {Sits on hench^ l., and covers his face with his\\nhands. Knock at door, c. a pause knock again.\\nThe door opens, and Scud sticks his head in,)\\nScud. Am anybody to home, hey? (Enters, with\\na lunch-basket on his arm,) Not a soul. Eberybody\\ngone a fishin {Sees David.) No, dar s an individle in\\nsolitary conflection. (Steps up, and touches him on\\nshoulder. Dayid looks up.) Yes, sir, ax yer pardon,\\nsir. Am de lady ob de house disumgaged?\\nDavid. The lady of the house There is none.\\nScud. Shoo what dat? no lady? Well den, whar*a\\nde widderer?\\nDavid. The what?\\nScud. De widderer, ob coorse dar was a lady ob de\\nhouse, nebber heerd ob a house widout one, and\\nif she s gone, ob coorse she s left a widderer one ob dem\\nfellers wid a bumbezine round his stovepipe, moaning,\\nin de words ob de sublime poet,\\nShe has left me here for to shed a teaTi\\nAnd play on de old jawbone.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0123.jp2"}, "124": {"fulltext": "118 AMONG THE BREAKERS.\\nDavid, There s no lady, uo widower. 1 am the DLastei\\nhere. Who are you and what do you want\\nScud. Who are I? Shoo! don t you know me!\\nFrought eberybody knew me. Why, I m Scud, de capn a\\nright bower.\\nDavid. Then spades are trumps. Well, who s tha\\ncaptain\\nScud. Who s de w^hat? Bless my soul, whar you\\nbin Don t know de cap n Well, well, de igromanee\\nob some people am surprisin Why, de cap n ob de\\nPacer, de fastest yacht on de coast. You see, Mr. Mr.\\nwhat might I call you\\nDavid. You might call me Sir that s respectful.\\nScud. Yaas, exactly. Well, den, Mr. Mr. Sar\\nMr. Sar, you see we was out in de bay, we was, me, and\\nde capin, and Massa Clarence, and Miss Daze, and de\\nyacht, when, by golly, afore we knowed it, up rolled de\\nbrack clouds, and de wind blowed four ways to once\\nnorth-east, sow- west, and and well I forgot de oder\\npints, and so we let go de jib, and de formast, and da\\nmain truck, and de windlass, and de mizzen mizzen\\nBomethin let em all go, and den, by golly, dem ar\\nwinds jist took dat ar yacht and laid her clear up onto\\nde beach down dar.\\nDavid. Ha Remarkable gale.\\nScud. Wan t it? Dat s jest what I tole de cap n.\\nCap n, says I\\nDavid. No matter what you told the cap n. What\\ndo you want here\\nScud. Hey Jes want to stay here all night.\\nDavid. Well, stay, if you can sleep on the floor. That f\\n\u00c2\u00ab11 the a3Commodation you ll get here.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0124.jp2"}, "125": {"fulltext": "AMONG THE BREAKERS. 11?\\nScud. Shoo sleep on de flo What, Massa Clar-\\nence, and Miss Daze, and de cap n Why, dej cotcb\\ndar def a cold.\\nDr-^id. You don t mean to say your whole boat load\\nwill quarter on me?\\nScud, Dat s jes what I mean. Golly, you wouldn t\\ngo for to leab us all out onto de rocks to be devoured bj\\nde wild beasts ob de sea, and and de skeeters would\\nyer? {Knock at door^ c.) Here dey am. (TJirows\\nopen door,) Walk right in, gemblems and ladies.\\nEnter Clarence, c, with Miss Daze leaning on Ati\\narm. Seats her in chair^ L.\\nClarence. You succeeded in finding shelter, Scud,\\nScud. Yaas, sir take a cheer, sir.\\nEnter Hunter, c.\\nHunter. Good. Any port in a storm,\\nDavid {starting up. Aside). Bruce Hunter and be-\\nneath my roof!\\nScud. Yaas, sar found a port, sure nuff. Dis am do\\nmaster, Mr. Mr. Sar.\\nHunter. I trust you will excuse this intrusion, my\\nfriend. The storm overtook us, and we were forced to\\nland. This seems to be the only house on the point at-\\ntached to the light.\\nDavid {assuming a rough manner^ and with his hack to\\nIIcnter). Yes, cap n, this is the lightkeeper s house,\\nand I am the keeper. Not much of a place, as you see.\\nYou re welcome to w^hat s here. There s no beds, noi\\nnothing to eat, so make yourself comfortable. {Turns\\nup stage.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0125.jp2"}, "126": {"fulltext": "120 AMONG THE BBEAKEBS.\\nBvnter. Thank you, friend, we will do our test\\nBeds we can do without for one night as for edibles,\\nScud is our commissary.\\nScud. Uat s a fac, sure s yer born, cap n. I toted r^e\\nlunch-box along. We ll soon fix em all right. (Goes\\nto tahle^ opens basket, and takes out plates, saucers, and\\nfood,)\\nHunter, Friend, will you eat with us?\\nDavid (fiercely). Eat with you? (Changes.) No,\\nI m obliged to you, I m not hungry. I must look to my\\nlight. (Goes to door, C. Aside.) Eat with him I\\nNever The food would choke me. [^Exit, c.\\nHunter. Our host seems anything but sociable.\\nGlar. A^rough customer. Scud, what did yDu say to\\nhim I m afraid you were rough spoken.\\nScud. Shoo I Why, Massa Clarence, I s a lamb.\\nI jes axed him if de lady ob de house, or de widderer,\\nwas to home, and tole him we was comin dat s all.\\nClar. Ah, Scud, you should polish up your manners.\\nYou ll never lose anything by politeness. You should\\nhave flattered him a little.\\nScud. Flattered him By golly, he d a flattened me\\nin a jiffy, I tole yer.\\nClar. You don t understand. You should have\\npraised his house, the neatness of this room, his appear\\nance, before proffering your request. In such a situation\\nas this a little tact goes a great way.\\nScud. Yaas, sar. Some ob de hard tact in dis jex\\nbasket been goin free or four voyages.\\nHunter. Ha, ha! Clarence, your lesson will Im\\nihrown away upon Scud.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0126.jp2"}, "127": {"fulltext": "AMONG THE BREAKERS. 121\\n7/ar. The squall has driven us into queer quart ers\u00c2\u00ab\\nfather.\\nHunter, No matter, my boy, as long as we are not\\ndriven among the breakers, we should be thankful ws\\nhave escaped the storm. (^Lightning.) Ah, here it\\ncomes. (^Thunder,)\\nMinnie {ysith a drawl). I declare, Uncle Chawles, thia\\nb positively delightful. So romantic I to be swept along\\nby the fury of the blast, lashed by the heaving billows,\\ntossed like a tiny chip at the will of the sportive winds,\\nand at last left like shipwrecked mariners upon a deso-\\nlate island.\\nScud, Dat s a fac, an a disolute lighthouse-keeper a\\ngrowlin into de bargain. (^Lightning thunder^ and rain.)\\nHunter. Not so bad as that, Minnie. We have seen\\nat least one inhabitant. It s too bad to deprive you of\\na pleasant sail, and, what s worse, condemn you to pass\\nthe night in this desolate house.\\nMinnie. Now don t. Uncle Chawles. I do so love\\nadventure. This is just for all the world like a novel.\\nLet me see, what shall we call it The Castaway\\nYachters?\\nClar. Or The Drenched Duck.\\nHunter. With you as the heroine, Minnie.\\nMinnie. No, I escaped that. How can you. Uncle\\nChawles, break all my pretty bubbles of romance with\\nyour sarcasm.\\nHunter. I beg your pardon, Minnie, if I broke an^?-\\nthing. Let s all break fast; that will offend nobody.\\nBeady, Scud?\\nScud. Tes, Bar; dap s biled chicken, bUed ham\u00c2\u00ab", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0127.jp2"}, "128": {"fulltext": "122 AMONG THE BREAKERS.\\nbiled tODgua hard biled eggs eberyting but biled\\ntaters and dar s\\nBess {outside^ sings),\\nA wet sheet and a flowing sea,\\nAn(} 2L wind that follows fast,\\nAnd .fills the wide and rustling sail,\\nAnd bends the gallant mast.\\nThere, mind your steps, messmate here, give ms your\\nhand. Now, a long pull, and a strong pull, and a pull\\nall together. Here we are, in port at last. (^Door\\nopens^ C. Lightning upon Bess an instant in the door\\nway^ then she enters^ followed by Paragraph. Thunder\\nand rain,)\\nParagraph {shutting up his umbrella). The heavens be\\npraised\\nBess. Here, Mr. Murray, I ve brought you Hallo I\\nstrangers\\nHunter. Why, it s our old friend Paragraph.\\nParagraph. What the Hon. Bruce Hunter? Sir, yours\\nlespectfully. {Shake hands,) Master Clarence, yours\\ntruly. {Shake hands,) Miss Daze, one of the sweetest\\ndays of my life, yours devotedly. {Shake hands,) Scud,\\nblack cloud of the evening, how are you? (Scud\\ngrins,)\\nBess. Why, you seem to have fallen among friends.\\nParagraph. Exactly. Allow me Hon. Bruce Hunter,\\nMiss Bess Starbright, the rover of the seas Miss Minnie\\nDaze, Miss Bess Starbright, the bright star of the bay Mr\\nClarence Hunter, Miss Bess Starbirght, the preserver of\\nthis Paragraph. {All interchange greetings,)\\nOr any nautical song", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0128.jp2"}, "129": {"fulltext": "AMONG THE BREAKERS. 12S\\nScud {aside), Dat ar Paragraph ain t got ao stop\\nto it.\\nParagraph. And now stop. Business before pleasure.\\n{Pulls out a note hook^ and writes.) The storm spirit\\nabroad. Terrific peril of our own correspondent. Afloat\\nin a leaky boat. A wrecked writer and a spunky\\nheroine. Peril and privation. Rescue and relief.\\nHow s that for a heading?\\nHunter. Heading for what, pray?\\nParagraph. The news column of The Roaring Ram-\\npage, of which highly influential journal I am the duly\\naccredited roving correspondent.\\nMinnie. Why, bless me, Mr. Paragraph, last week\\nyou were an artist.\\nParagraph, Exactly, last week, as you say this week,\\ngenius has taken a new flight. Literature is above art.\\nConsequently I have dropped the brush, and taken up\\nthe pen. All day I have been in search of an item. This\\nmorning I heard of a prize fight, and hastened to report\\nit. Reached the ground, placed myself in a capital posi-\\ntion to witness the set-to, when I was ignominiousl^\\nhustled from the ground by friends of the contending par-\\nties. Then rushed off to report a dog fight, but, alas I\\nthe dogs wouldn t fight, but flew among the spectators,\\nand I hurriedly left. Then I took a boat to board an\\nincoming steamer. Boat leaked, squall came on, boat\\nupset clung to the keel until succor, in the shape of that\\ndear little girl with the tarpaulin hat, tore me from my\\nfrail support and landed me here, wet, hungry, and minus\\nthe news. Bless her, she s a trump. I was a foregone\\nconclusion, a Paragraph cut short, but for her, Henr^\\nforth I am her slave.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0129.jp2"}, "130": {"fulltext": "124 AMONG THE BREAKERS.\\nBess (seating herself on box^ l. c). Well, I nevei\\nWhat a fuss about nothing.\\nParagraph. Nothing? Hear her; hear the bold rover of\\nthe seas. To have saved the life of Peter Paragraph sha\\ncalls nothing.\\nBess. Why, bless you, Mr. What s-your-name, I have\\npulled twenty fellows out of the water in the last ten\\nyears. It s no trouble. I was found in the water. Ever\\nsince I could pull an oar, I ve had a boat and lived on the\\nwater. I know every inch of the coast, every turn of the\\nweather, the depth of every part of the bay, and when 1\\nsee a boat in distress, what more natural than for me to\\nput out. Pooh there s no danger it s just fun.\\nHunter, Your hand, my brave girl. You have saved\\nour friend, and, though you treat the matter lightly, tis\\na stout heart that would brave the storm in such a cockle\\nshell as yours.\\nParagraph. My sentiments exactly. Miss Starbright,\\nsuch heroism as yours deserves reward. (^Kneeling,)\\nHere on my knees I offer you my hand.\\nBess. Your hand What for I don t need it. I\\ncan climb trees like a squirrel, pull ten miles without\\nrest what do I want of your hand.\\nParagraph. But you do not understand. Fm rich.\\nI can place you in a situation where pulling and climbing\\nare not necessary. I offer you my hand in marriage.\\nBess. Marriage Ha, ha, ha that s too good. You\\nmarry me Mother Carey s chicken\\nParagraph. Yes, were you Mother Carey s old rooster\\nFd marrj you.\\nBesa. Ha, ha, ha 1 O, take him away, somebodji", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0130.jp2"}, "131": {"fulltext": "AMONG THE BREAKERS. 125\\ndo Ha, ha, ha I shall die, I know I shall Every\\nman I pull out of the water wants to marry me bat aa\\nBoon as their clothes are dry, off they go, and nevei\\ncome back, never come back, they never come back\\nto me. I say, Mr. Paragraph, don t let s talk of mar*\\nriage. If you re my slave, find me something to eat\u00c2\u00ab\\nI m awful hungry.\\nHunter. Here s plenty. (Hunter, Clarence, and\\nParagraph run to table^ take plate of lunch^ and crowd\\naround Bess.)\\nHunter T f Allow me, a slice of tongue.\\nParagraph J^^o^e^/ier.s Allow me, a slice of ham.\\nClarence J L Allow me, a little cold chicken.\\nBess. La how polite But I can t eat it all, you\\nknow. (Looks at Clarence. Aside.) O, my what\\na splendid fellow (Aloud, to Clarence.) Thank you,\\nI m very fond of chicken. {Takes plate from him.\\nHunter and Paragraph return to table. Clarencb\\nseats himself beside Bess on the box.)\\nMinnie (aside). Heroism has won the day. They\\nhave quite forgotten poor me. (Aloud.) Ahem I I am\\nvery fond of cold chicken.\\nParagr iph (going to her with plate) Good gracious I\\nhas nobody thought of you? (Hunter sits at table, and\\neats,)\\nMinnie. Thanks. Tis sweet to be remembered, even\\nby a false one.\\nParagraph. False one? (Aside,) What have I done\\nA year ago I offered her my hand, which she accepted,\\nand to-day, in her presence, I ve gone and offered it\\nio this sea nymph. It s bigamy circumstantial bigamy\\n{Aloud.) My dear Minnie", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0131.jp2"}, "132": {"fulltext": "126 AMONG THE BREAKERS.\\nMinnie, No, Tm not your dear Minnie. You ar\u00c2\u00ab\\nfalse. We have plighted vows together, and jouV\u00c2\u00ab\\nbroken them before my eyes.\\nParagraph, No, no. I must show my gratitude to\\ntlie preserver of my life, you know, and what more nat-\\naral than to offer her this hand of mine. She didn t\\ntake it, and I shan t offer it again. But you, you are\\nthe ideal of my soul, the loadstone of my existence, the\\nobject of my adoration dearer to my heart than\\nScud {comes down with plate), Biled ham, Miss\\nDaze\\nMinnie, No, I thank you. Scud. (Scud retires up,)\\n0, Peter, you know my weakness for cultivated society.\\nI thought you would take your place among noble artists,\\nI find you have changed. You have taken to literary pur-\\nsuits. At the first mention of new aspirations, my heart\\nfluttered and I pictured a bright future for you among the\\nnoble wielders of the classic pen, but with one blow you\\nhave dashed my hopes, and I find you false as the fickle\\nmoon, as hard-hearted as\\nScud {coming down with plate), Biled eggs, Miss\\nDaze?\\nMinnie, No, I thank you. Scud. (Scud returns to\\ntable,)\\nParagraph, Don t, Minnie, don t. You ll break my\\nheart. Do not spurn me for a thoughtless jest. You\\nalone are my own dear, loved, tender\\nScud {coming down with plate). Chicken, Massa Par*\\ndigraph\\nParagraph, Confound it, no I Go awa^ with ycoi\\ntenseless bawblcs.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0132.jp2"}, "133": {"fulltext": "AMONG THE BREAKERS 127\\nScud. Bawbles? Yes, I guess not, Massa Para-\\ngraph. It s cliick n cook iin myself. Have some,\\nMiss Starbright?\\nBest. No, I thank you, Mr. Scud. Tm very vrell\\nsettled.\\nScud (aside), Misser Scud Now der s a lady.\\nBiess her bright eyes, and hansom as a picter. Jea\\nlook at Massa Clarence He s smashed, clean gone.\\nSettled golly, she s settled him sure nuff. (^Returns to\\ntable.)\\nClarence. But, Miss Starbright, tis but a rough life\\nafter all. Our ladies in the city find their enjoyment in\\nthe dance, the ride, the care of flowers, needlework, and\\nother delicate and refining pastimes. Here you have\\nno company save the rough sailors and fishermen of the\\ncoast. Here you are out of the world.\\nBess. You think so Why, this place is a world in\\nitself. Before us is the wide ocean behind, smooth\\nplains beyond that, the hills, with their wooded fronts\\nhere around us, the bold headland, the jutting point, roar-\\ning breakers and rippling waves, jagged rocks and smooth\\nbeach above, the heavens, now studded with stars, anon\\nsombre and black, or cut by swift lightnings. All forms\\nof nature centre here. There s much of the awful, and\\naiuch of the sublime. Yet tis the dearest spot on earth,\\nfor tis my home. Rough is the life I lead, tis true, bul\\nhere are no temptations to assail and I ve one true heart\\non which to lean could I ask for more\\nClarence, Indeed, but tis a blessed spot, and, as yon\\npicture it, it seems like a magic realm, one of those\\nCabled grottos, made to enclose a priceless gem, foT", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0133.jp2"}, "134": {"fulltext": "128 AMONG THE BREAKERS.\\nwhose possession princes strove. Here you are the gem\\nMay I not be the prince?\\nBess (aside). I never met such a splendid fellow,\\nO, dear and he ll go away to-morrow. {Aloud.) Hark I\\nWhat s that?\\nMother G. {outside). Bess! Bess! my child\\nBess {starting up), O, there s my mother! Hare,\\nmother, here.\\n.Enter Mother Carey, c. Bess runs into her arms.\\nMother C Safe, safe, my child Twas a rough gale.\\nI feared for your safety.\\nBess. Never fear for me, mother. My boat is tight,\\nand my arms are strong. Come, let me introduce you\\nto my new friends. {Situation Clarence seated on\\nthe henchj L. Mr. Hunter stands talking with him.\\nMiss Daze, r. Paragraph talking with her. Scud\\nat table, putting away food. Bess and Mother Carey,\\nC.) Mr. Hunter?\\nHunter. Well, Miss Bess?\\nBess. My mother.\\nMother G. {grasping Bess, and glaring at Hunter).\\nNo, no I not that name I Hunter {jiside,) What\\ndoes he here? Have the wolf and the lamb met at\\nlast.\\nBess. Don t mind her, sir. The sight of a new c\u00e2\u0082\u00ac\\n.8 very apt to agitate her.\\nHunter. Very glad to meet you, madam, to tell you\\nhow much we owe your brave daughter.\\nMother G, Yes, Bess is a good girl. A daughter to\\nbe proud of.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0134.jp2"}, "135": {"fulltext": "AMONG THE BREAKERS. 12S\\nBess. No don t make me blush, mother. Mr. Hun-\\nter and his yeirty were driven ashore. They are to pass\\nthe night hei^.\\nMother (7, Here beneatn this roof? Better the cold\\nBWids br a bed, the heavens for a shelter, than this\\nplace.\\nHuf*^r, What mean you?\\nMoth T C Show me your hand.\\nBess. Mother is a fortune-teller, Mr. Hunter. She is\\ncalled, *^y the good people who visit here, a witch, I\\ncan assvire you she sometimes makes wonderful proph-\\necies.\\nScud, A vritch O Lord she takes de kink right\\nout ob my har.\\nHunter. My good woman, I have very little faith in\\npredictions, yet here s my hand, if you wish.\\nMother G. {taking his hand). A good hand. There s\\nfortune here. Fame, too, the lines straight, dis-\\ntinct, but here s a dark line I like not a vein of\\ntrouble among the fortunate lines. There s a lifelong\\npain at your heart. Am I not right?\\nHunter. You are. Fifteen years ago I lost a daugh-\\nter stolen from her cradle.\\nMother G. And never found\\nHunter. Never.\\nMother G. And yet you know the thief?\\nHimter, I do.\\nMother G. An enemy?\\nHzmter., The only enemy I ever had and he ODt\\n#hDm i never wronged by deed or word.\\nMother C. Have you ever searched for him?", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0135.jp2"}, "136": {"fulltext": "180 AMONG THE BREAKERS.\\nHunter. Every effort was made to fiud the chilJ\\nand the kidnapper, but all in vain, and at last I cam\u00c2\u00a9\\nto think that, out of his deep revenge, he had da\u00c2\u00bb\\nstroyed the child and himself.\\nMother G. You re wrong. The child still lives wiU\\nl restored.\\nHunter. Still lives? How know you this?\\nMother G. I read it in your hand.\\nHunter {snatching avjay his hand). Pshaw! An\\nidle trick. Woman, tis wrong to trifle with tender\\nemotions. But, tis your trade.\\nMother G. My trade Man, the knowledge I pos-\\nsess has been acquired by hard experience, and patient\\nstudy of the ways of life. I tell you, he who so\\nwronged you is travelling towards you, as you, all un-\\nwittingly, are nearing him. As sure as the sun shines,\\nas the winds blow, as the waves beat upon yonder\\nrocks, you will meet, and, in that meeting, I foretell\\nhappiness for you, defeat and destruction for him.\\nMark me, Mother Carey tells you this and her proph\\necies never fail, never.\\nGlarence. Let me try my luck, father.\\nMother G. Father? Who spoke then?\\nGlarence {coming, c). Twas I, mother. Read my\\nhand, and tell me my fate.\\nMother G. (puts her arm over his shoulder, takes hu\\nhand, o.nd leads him doivn). No, no, not the haad\\nlet uv? read it in your face fresh, open, honest; a\\nface the mother should be proud to look upon. I can\\neasily foretell your fortune a bright, brave, happj\\nlife. Your mDther", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0136.jp2"}, "137": {"fulltext": "AMONG THE BREAKERS. IS\\\\\\nClarcnct, A.las she died when I was very youug.\\nMother G, Too young to remember her?\\nClarence. No, mother. There s just a glimpse of a\\n{yvinoj face fastened upon my memory, which my\\nfather s praises of her goodness have fashioned into an\\niDdefinable presence, that is always with me, acting on\\nmy life, keeping me from wrong, and aiding me with\\nhigh aspirations, a radiant image so pure and bright\\nthat in ixiy heart I call it by the tender name of\\nmother.\\nMother C. {with emotion). Bless you, my boy.\\nDoubt not, wherever she is, whether in this world or\\nthe unseen, her love still guides and guards your life.\\n(Clarence retires up stage.)\\nHunter (comes down^ c. Aside). Now to test her\\npower. {Aloud,) Mother, the boy called me father.\\nMother G. He was right. You have reared, pro-\\ntected, loved him what though the tie of birth be\\nwanting? the boy is right.\\nHunter {aside). She is a witch. {Aloud.) But,\\nthe mother?\\nMother G. Ask me no more. My brain grows\\nweary, and the thoughts of wrong and outrage make\\n*my soul sick. What I have told you will come to\\npass. Be content, and wait as I have waited. ((?oe\u00c2\u00ab\\nto door^ c.) The wronger and the wronged shall meet,\\nand when they do, remember Mother Carey s pr phecy.\\n\\\\^Exitj 0.\\nScud. By golly, she s gone oflF on a broomstick.\\nBess. Well, I must be getting home. {Puts on\\nlot.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0137.jp2"}, "138": {"fulltext": "132 AMONG THE BKEASJIBS.\\nClarence. Let me accompany you.\\nBess. I m not a bit afraid and besidtis, haven t 1\\ngot a beau already. Here s Mr. Paragraph. He d ba\\nmortally offended if I should slight him.\\nClarence. 0, no, he wouldn t mind it. You see\\nhe s very busy with Miss Daze. He s engaged to her.\\nBess. What? Engaged to her? Why, he offered\\nhimself to me a little while ago. I ll put a stop to\\nthat. Ahem Mr. Paragraph\\nParagraph {turns to c. of stage). Well, Miss Star-\\nbright\\nBess. A glass of water, if you please.\\nClarence. Let me\\nBess. Stop Mr. Paragraph is my admirer, I may\\nsay, my affianced husband, as he offered himself to\\nme, and I did not refuse him. Mr. Para ah I Peter\\na glass of water.\\nParagraph. Yes. O Lord the little jade s in ear^\\nnest. Yes, Miss Bess. Hot or cold?\\nBess. Cold for me. {Aside,) Hot for you, I guesa-\\nParagraph. Yes, I go. {Starts for table,)\\nMinnie. Peter\\nParagraph. Well, dear? {Beturns to Minnie.)\\nMinnie. A glass of water for me first.\\nParagraph. Certainly. {Going to table.)\\nBess. Peter\\nParagraph {returning). Well, Miss Bess?\\nBess. I shall expect to be served first.\\nParagraph, Yes, marm. {Goes to table; Jills iwc\\nff lasses comes down^ c. looks at Minnie, then at\\n9tand8 irresolute a moment^ then starts for Minnie.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0138.jp2"}, "139": {"fulltext": "AMONG THE BREAKERS. 18S\\nBefs. Peter\\nParagraph, O, yes, certainly Turns to Bess.)\\nMinnie. Peter\\nParagraph, Coming, dear. (^Turns to Minnie.j\\nBess, I protest. (Paragraph starts jor Bess.\\nMinnie. I insist. (Paragraph turns to Minnlz\\nBess,\\nParagraph (^stands in c. of stage, falls on one kme^\\nand stretches out his hands containing the glasses to\\nBess, r., to Minnie, l.) Pity the sorrows of a poor\\nyoung man. Ladies, help yourselves.\\nMinnie {jumps up). You re a false, deceitful man,\\nand I ll never speak to you again. (Goes up stage.)\\nBess {jumps up). Very well, ]\\\\Ir. Paragraph, I re-\\nlease you from your engagement. The next time you\\nare shipwrecked, don t expect me to save you. Com^\\nMr. Clarence, as he who should be my protector has de-\\nBerted me, I will permit you to see me home. Good\\nnight, all. (At door, c.) Peter\\nParagraph {still on his knees). Miss Bess\\nBess. Henceforth I am your slave. Ha, ha, ha I\\nYou make a capital fountain. Good by. {Exit^c.^foU\\nlowed by Clarence.)\\nParagraph {rising). Betwixt two stools I fall to thi\\nground. Here, Scud.\\nScud. Yaas, Massa Paragraph.\\nParagraph {handing him a glass). Join mc in a toast\\nHere s to woman s rights,\\nTo torture and tease,\\nTo do just as they please.\\n[^Drinks retires uv", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0139.jp2"}, "140": {"fulltext": "134 AMONG THE BREAKERS.\\nScud, Yaas, Massa ParafT*aph, ebery tine. (^Drinks.)\\n(Aside,) Bj goUj, dey jes rook his goose. {Betiresup.)\\nEnter Larry, r.\\nLarry. Beg yer pardin, ladies and gints. Would b6\\nafther takia a look at the lighthouse? The rain s\\nstopped, and it s only a stip.\\nMinnie. O, yes Uncle Chawles, I should like to\\nsee the interior of a lighthouse.\\nHunter. And so would I. What say you, Para-\\n^aph?\\nParagraph. Lighthouse? Yes, there s a chance for\\nan item there.\\nLarry. Thin follow me. (/Sees ScuD.) -Hullo,\\nnagar\\nScud. Hallo, paddy\\nLarry. Begorra, ye s so black and shiny, I though/\\ntwis the avil one\\nScud. By golly, yer fool Does you tink I s a lookin\\nfglass?\\nLarry. Ugh blarney [^Exit^ c\\nScud. Shoo, fly don t bodder me\\nHunter, Come, Minnie. {Gives her his arm, and\\n^t, C.)\\nParagraph. She turns her back upon me without a\\nword, and goes off to the light, perhaps to make light\\nof me. Peter, my boy, youVe been a fool. Let this be\\na warning to you. Never make love to a woman when\\nanother s in sight. [^Exit, C.\\nScud. Shoo I Triborlat n am a comin sartin sure 1\\nDar s a Hibemieum in de house, and de nat ral antipidies", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0140.jp2"}, "141": {"fulltext": "AMONG THE BREAKERS. 13ft\\nob de Africau persuas a for dem ar fellers is a risin in de\\nintestines ob dis yer buzzim Who be he am? Heyr\\n^liat De brack blood ob forty-leben ginnyologies ob\\nancisters and ancisteresses cries, Away, white trash Dar\\nain t no asswassiation to be fright ob. I ll jes tell de cap n,\\nWhar s de towel? Can t put away de plates widoul\\nwipin um, and I ain t got no towel.\\nEyiter Biddy, l.\\nBiddy. Where s Misther Larry iSees ScUD.) O,\\nmy sowl and body, who s that\\nScud. I want I want Stop, Scud. Massa\\nClarence tole yer to be ticlarly polite. Dis am de gal\\nwhat hab de towels. See me I now, see me {Lays his\\nhand on his hearty hows several times^ and approaches\\nBiddy.) Sublimest ob your sexes\\nBiddy, Howld yer blarney jist. It s ashamed I am\\nuv the loikes uv yer.\\nScud. When I look at yer, it seem jes as if chahorse\\nam come agin.\\nBiddy. Sure, I don t know who s coom, at all, at all.\\nScud, y ^u hab de peach-blow on yer cheek\\nBiddy. Will, I don t know what ye mane.\\nScud. De wer million hues ob de sunflower kermingle\\ndar.\\nBiddy. Troth, I belave he s a gorrilla\\nScud. And de light ob affliction am in yer eye.\\nBiddy. O, away wid ye s It s hathen Chinee yej\\ntalk n, jist. Where s Misther Larry?\\nScud. Sweetest ob de female persuasion, what you\\naK me?", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0141.jp2"}, "142": {"fulltext": "136 AMONG THE BBEAKEBS.\\nBiddy. Where s Misther Larry, stupid\\nScud. Mister Larry Stupid am gone a^vay. Listen\\nto me. Gib me what I ax yer. (Falls on both knees\\nfacing audience.) Gib me, angeliferous creture, O, gib\\nme (Takes her hand,)\\nEnter Larry, c.\\nBiddy. Quit ahoult uv my hand\\nScud. Don t be skeered it s only peliteness and I ax\\nyer, gib me, 0, gib me (Larry creeps up behind,\\ntakes him by the nape of the neck, and shakes him.)\\nLarry. Ye thafe of the worrld. (Shake.) Ye black\\nhathen (Shake.)\\nScud. Here, you up dar Wha wha what yer\\nbout dar?\\nLarry. Troth, ye ll soon find out. (Shake.) Ye\\nblackguard\\nScud. Look hyar, Hibernicum quit foolin quit\\nfoolin\\nLarry. What d ye mane by insultin the swatest girl\\nin Fairpoint\\nBiddy. Och, it s blushin I am, Masther Larry.\\nScud. You jes lef dat ar coat alone, or I ll tell yer\\nmudder.\\nLarry. I ll break ivery bone in yer augly carcass, so\\nI will. (Shake.)\\nScud. You jes lef me be, dat s all. Dis am a free\\ncountry.\\nLarry. An this is a fray fight. Now, nagar, ye U\\nax the parthin uv Miss Biddy Bane d ye mind\\nScud. Well, I ax it. Lef me be, now.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0142.jp2"}, "143": {"fulltext": "AMONG THE BREAKERS. 137\\nLarry. An say, I m a black\\nScud. You re a brack\\narry. What s that? You repate afther me. I m a\\nblack\\nScud, Dat s what I said. You re a brack\\nLarry (shaking Mm). Will yer mind what I say?\\nScud. Quit, you fool quit, you fool I m a brack\\nLarry, Ogly, mischievous owld darkey\\nScud. Ugly, Miss Cheever s old darkey\\nLarry. An diserve a kickin so I do\\nScud. And deserve a kickin so I do\\nLarry. Now git up, an if iver I find ye s demaning\\nyersilf afore this illigent crather, I ll break ivery bone in\\nyer ogly, black carkiss, so I will.\\nScud (rising). Look hyar, Hibernicum De day ob\\ntriberlation am a comin You jes look out, dat s all.\\nMiod w^hat I say, de day ob triberlation am a comin and\\nScud am a comin too.\\nLarry. Howld yer pate, ye black son uv a gun.\\nEnter Hunter, c, with Minnie.\\nHunter. Hallo what s the matter here\\nScud. Nuffin, Massa Cap n. I was axin de lady for\\na tow^el dat s all.\\nLarry. An he got a wipe uv anither kind hey,\\nBiddy?\\nErder David, c, with hlanhets on Ms arm.\\nDavid. I ll do the best I can for you, captain. Ycui\\nfriend I ve already disposed of for the night in the light-\\nbouse. There s a room above for the lady, a small room", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0143.jp2"}, "144": {"fulltext": "138 AMONG THE BREAKERS.\\nthere iuf the boy here s a bench and blanket for you\\nITour servant can go to the light with Larry. SoiTy\\ncan t do better.\\nRanter, Say no more, friend. We shall get aloDg\\nrery comfortably.\\nDavid. Biddy, show the lady to her room.\\nB ^ddy, To be sure I will, and make her comfortable\\ntOG, This way, my lady. \\\\_Exit^ R\\nMinnie, Good night, Uncle Chawles. Don t be\\nanxious about me. I shall sleep soundly, never fear\\nit s so romantic. [Exit^ R.\\nHunter, Good night, Minnie. Well, Scud, you re\\nassigned quarters in the light.\\nLarry, I ll take care of him, sir. Come along, Scud,\\nril find a soft plank and a comfortable shake down\\nfor ye s.\\nScud, Yes, I guess not. Had jes enough ob yer\\nBhake downs. By golly, my teeth am all droppin\\nDut me.\\nHunter, Go with him, Scud. He ll take good care\\nof you.\\nLarry, That s thrue for ye, sir.\\nScud, Well, lead on, Hibernicum. Dar s alius a\\ndam afore de storm, but de day ob triberlation am a\\ntomin \\\\_Exit L^rry and Scud, c,\\nDavid, The room in there is very small, so I advis6\\nyou to give it to the boy, and keep this for yourself.\\nHunters All right, friend. Hope I m not turning you\\neut of your own quarters.\\nDavid. No my duties keep me, in the light all night\\nHunter, Rather a rough life you lead, friend.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0144.jp2"}, "145": {"fulltext": "AMONG THE BREAKERS. 138\\nDavid, Rather. Plenty of work, and poor ay.\\nHunter. You look like a man who has seen bettef\\nEays.\\nDavid. Do I? Well, perhaps I have, and perhaps\\nI haven t. That s my business. I can tell you this,\\ncap n, Tve tried to do the fair thing wherever Fve been\\nplaced. Love my friends, and hate my enemies. That s\\nabout the wa^ of the world, and I m no better or worse\\nthan the common run of mankind. You ll sleep here\\nwill you?\\nHunter, Yes, I ll stretch myself on that bench.\\nDavid. Don t lock the door, for I have to pass in and\\nout during the night. You sleep sound\\nHunter. Very.\\nDavid. I ll try not to disturb you. Good night, and\\na long, refreshing sleep. \\\\_Exit^ C.\\nHunter. Good night, friend. That woman s words\\nring in my ears. My child still lives. O, would they\\nwere true. Where could she have learned so much.\\nPaul Hunter and I meet again? Impossible. I wish I\\ncould drive such thoughts from my mind. They almost\\nmadden me. To feel the clasp of the dear one s arms\\nabout my neck, to hear her sweet voice speak the name\\n01 father, after so many years, would be a miracle. O,\\nPaul Hunter, deep and terrible was your revenge upo3\\nan innocent head. Heaven forgive you, as I hope I do.\\nEnter Clarence, c.\\nClarence^ Well, father back again, as you see.\\nHunter, And the sea nymph safe at heme?\\nClarence. Yes. O, father, she is the sweetest, bright^\\nest dearest girl I ever met 1", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0145.jp2"}, "146": {"fulltext": "140 AMONG THE BREAKEko.\\nHunter, Hallo, boy Have you lost your heait?\\nClarepce. Entirely gone, father. Do you know, Fd\\nlike to win that girl to make her my wife.\\nHunter. And why not?\\nClarence. Her station in life is very low. For my*\\nBelf I would not care, but you would hardly like to take\\nas a daughter one so poor and\\nHunter. Tut, tut, boy I d rather see you woo thit\\nbrave girl, poor as she is, believing, as I do, she has a\\nnoble heart, a pure soul, and a loving disposition, than\\nhave you bring home as a wife the belle of the gay cir-\\ncles of our city life.\\nClarence. Do you mean this\\nHunter. I do, my boy. I was once so poor that I\\ndragged my half-starved body to your grandfather s\\ndoor, and begged of him a crust of bread. That good\\nold man took me in, fed me, clothed me, treated me. S5\\nhis own son, and when he died, left me all his wealth,\\nClarence. Treated you as his son left you his wedlch?\\nTwas yours by right.\\nHunter. No, Clarence, for I am not your father.\\nClarence. Not my father Mr. Hunter\\nHunter. Clarence, to-morrow you are of age. Then\\nI shall make disclosures which will startle you. To-\\nmorrow I shall place in your possession the title deeds\\nof a large property yours by right. I did not mean\\nto speak of this now. Ask me no questions. To-mor-\\nrow you shall find that, though I am not your father, I\\nhave tried to be your friend.\\nClarence, Friend Heaven bless you for your kind.\\nG0Sft to me. You have indeed startled me. I kuo^", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0146.jp2"}, "147": {"fulltext": "AMONG THE BREAKERS. 14\\\\\\nl^hat to think or say. But I will obey you, and be\\nsilent.\\nHunter. That s right. Now let s to bed. There s a\\nlittle room which you will occupy. I shall sleep on this\\nbench. Good night.\\nClarence. Good night, father. (Goes, l., and oper^\\ndoor.) Why, here s a comfortable room and a bed. I\\nsee here your fatherly care. You would give me a oosey\\nnest, and take the hard couch for your bed.\\nHunter. The light-keeper told me it was only a closet.\\nWhy should he deceive me so\\nClarence. Well, father, you take the bed, and I ll\\ntake the bench. Nay, I insist. I could not sleep here,\\nknowing you were not as comfortably provided for.\\nHunter. But, Clarence\\nClarence. Nay, let me have my way. Tis perhaps\\nthe last request I shall make while I can call you father.\\n(Takes candle from table.) Here, take the candle. I\\nshall not need it. Good night, father.\\nHunter (takes candle). I do not like this, but you\\nshall have your way. Good night, my boy. (They\\niliake hands.) Heaven bless you. [Exit, Lr\\nClarence. Good night, kindest and best of friends.\\nNot my father? Who is he, then? Who am I? This\\nplace seems the very abode of mystery. An unknown\\nheroine, a witch, who startles even the cool, impenetrable\\nBruce Hunter, and then he with mysterious hints of\\nsecrets in my life. To-morrow I shall know all be\\nwealthy owner of a large estate, and lose my father. 1\\ncannot fathom it. I ll to bed, and try to sleep. (Gropes\\n4if way to bench, h-j on which are lying two blanktts which", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0147.jp2"}, "148": {"fulltext": "142 AMONG THE BREAKERS.\\nDavid brought m; one he rolls up for a pillow^ then liek\\ndowr?^ covering himself with the other.) That long walk\\nhas made me sleepy. Yawns,) What a pleasant walk,\\nand what a delightful girl by no means ignorant. She s\\nwell read Mother Carey has reared her well and then\\nso captivating. Ah, me, if she were only mine I ll\\nwin her. Bess Bess what a pretty name. Bess\\nHunter Mrs. Bess Hunter {Yawns,) This sea\\nair is a decided narcotic. Bess, brave, lovely, capti-\\nvating, she s the treasure of the seas. Bess Bess\\nBess {Sleeps. Lightning, thunder, rain.)\\nEnter Scud, c, with a blanket.\\nScud. Rainin like de debble Dat ar Hibernicum s\\na fo fo fool, daf s what he am. Gib me a soft plank\\non a stone floor No, sar not for Scud. Til jes find a\\nBoft plank hyar onto de bench. {Goes to bench.) H^Uo\\nBy golly, dar s a lodger dar now. Shoo it s Massa\\nClarence. Whar s a soft plank? (Feels about the floor.)\\nHyar s one jes a shade softer dan a slab. I ll retire\\nhere. {Lies down in front of the bench.) Dar s nuffin\\nlike a good crop ob w^ool onto de cranium when de pillers\\nam all gone to de wash. Hallo what s dat More\\nlodgers? {Lightning and thunder. Door, c, opens\\nsofthj. Enter David, with a long knife in his hand.)\\nDavid. He sleeps My enemy s at my mercy. Tia\\na cowardly act a blow in the dark. But let me re-\\nmember my wrongs. Bruce Carter, son of a pauper,\\nliving in luxury I, the rightful owner of all he calls his\\nown, living here like a dog. He must die. One sure\\nblow, and we are quits. The breakers roar for prey", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0148.jp2"}, "149": {"fulltext": "AMONG THE BREAKERS. 145\\nWho fio fit to feed them as he? All g lee p well. This\\nknife shall find his heart. One plunge, and his body is\\nin the waves.\\nScud, Dar s somebody in de house dat don t belong\\nhyar, dat s sure enough. Wake ap, Scud. Triberlat n s\\na comin I feel em in dem remarkable organs, my\\nheels. {Sits up,)\\nDavid (ill c. of stage). Why do I falter? He is my\\nenemy. Shall I spare him If I lose this chance, with\\nthe light he will go, never to return. I must do it.\\n(Lightning and thunder,)\\nScud (rising). By golly, dar s a man in de middle ob\\nde floor wid a meat-axe Who s he comin fur to go\\nfur (Bises.)\\nDavid (creeping towards bench). Curse the knife 1\\nHow my hand trembles.\\nScud, Triberlat n am a comin I hyar im breave.\\nDavid, Now for it.\\nScud (seizing him by throat). Nuffin hyar, butcher I\\nQuffin hyar\\nDavid. Confusion TJiey struggle,)\\nScud. Drop dat knife Hyar, cap n Help mur-\\nder Help help Wrests the knife from David, and\\nthrows him to r.)\\nEnter Hunter, with lighted candle in one handy pistol in\\nthe other. Clarence sits up^ rubbing his eyes.\\nDavid. Curse that black fiend\\nHunter. What s the matter, Scud?\\nScud, Murder ies almost dat s what s da\\nmatter. Da ar chap was gwine for Massa Clarence wid\\nknife, an I went for dat nhap, jes dat s all.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0149.jp2"}, "150": {"fulltext": "144 AMONG THE BREAKERS.\\nHunter, Murder Clarence Short work foi mw^\\nderers. {Levels pistol at David. Lightning,)\\nEnter Mother Carey, c.\\nMother G. (c). Hold, Bruce Hunter The maa who g\\nlife is in your hands must not die. Look well at him\\nTis Paul Hunter.\\nHunter {dropping pistol^ and falling bach) Paul\\nHunter\\nDavid (dashes past ScuD towards Mother Caret).\\nWoman fiend you lie\\nScud (puts his arms through David s, and bends him\\nover his knees). Hold on, old man Gib de old lady a\\nchance, for triberlat n s ar a comin\\nMother G. Ha, ha Remember Mother Carey s\\nprophecy. The wronger and the wronged shall meet.\\nHappiness to one destruction to the other. Justice for\\nboth at last, at last. (Lightning and thunder.)\\nQUICK CURTAIN.\\nA.CT II. Scene. Same as in Act X. Table^ c.\\nChairs r. and L. of table. Bench^ i- Arm-chair^ B.\\nL., near entrance^ barrel with cover large enough tc\\ncomfortably contain ScUD.\\nLarry (sings, outside^ c).\\nWhen first I saw swate Peggy,\\nTwas on a market day,\\nOn a low-backed car she sat and rode^\\nUpon a truss of hay, c.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0150.jp2"}, "151": {"fulltext": "AMONG THE BREAKERS. 14 S\\nOch, it s ab illigant mornin jist, an if s djin* 1 am foi\\na sight uv the lovely girl that s made me pass a slap**-\\nless mght dramin uv her. Where s the masther 1\\ndonno Not once the night has he put his Ijead in thfl\\nlight. Will, it s his onaisy sphirit kapes him a walkiu\\nan a walkin Ah, there s Biddy comin as rosy as the\\nclouds iv the mornin {Enter Biddy, with her hand\u00c2\u00bb\\nfull of dishes,) The top uv the mornin to ye s, Biddy,\\nye jewel.\\nBiddy, Ah, ha, Misther Larry, yer up betimes wil\\nyer compliments an flatterin spaches.\\nLarry. To be sure I am. For it s little slape I have\\nwid yer purty face forninst me an the shlumbers of mid-\\nnight. Och, Biddy, darlint, won t ye s come for to go\\nfor to be my widdy\\nBiddy. Indade, an I ll be nobody s widdy. If I d not\\nmy hands full I d box yer ears, so I would.\\nLarry. Och, be aisy That s a dilicate way of axing\\nye s to be my wife. Hands full By that same token,\\nBiddy, darlint, I m just going to stale a kiss from your\\npurty lips.\\nBiddy. Indade, but yer not. Kape off, or I ll scratch\\nye s face, so I will.\\nLarry. Wid yer hands full Troth, but I ll jist thry\\nthat same. {Puts his arm round her waist.)\\nBiddy (struggling). Away wid ye s\\nLarry. Whin I ve tasted the cherries uv yer lipa,\\n{They struggle. She drops the dishes. He kisses her, Covef\\nof barrel is raised^ and Scud s head appears.)\\nScud {aside). Dar s a smash. Stolen sweets, illus-\\ntrated wid wid wid plates. {Disappears in barreL)\\n10", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0151.jp2"}, "152": {"fulltext": "14.6 AMONG THE BREAKERS.\\nBiddy. Now say what ye s done. Ye s \\\\)it.ker th\\nLiee.\\nLarry. Niver mmd the paces. I ll make it all right\\nwid the masther.\\nBiddy (^picking up pieces in her apron). The mas*\\n*her is it? Och, Misther Larry, there s been avil work\\nliere the night.\\nLirry {picking up pieces). Avil work? What d yi\\nmane, Biddy?\\nBiddy. Whist I heard a hullabaloo, an down her\u00c2\u00ab\\nI cript, an paked in at the door. An there was the\\nmasther hild by the black coak, an the cap n wid a\\npiothol in his fist, an owld Mother Carey a houldin uv\\nher broomstick, an all talkin an talkin togither some-\\nthin about a murther an thin the owld lady scooted\\nout uv the door, an an they locked masther up in\\nhis room, an an thin I jist crept off to bid. Och,\\nbut it s an avil place, jist\\nLarry. A murther, an the masther locked up?\\nBedad, I don t onderstand it at all, at all.\\nBiddy. No more do I but I ll give warning the\\nday, an go back to my cousin, Bridget Blaney, so I\\nwill.\\nLarry. An lave yer own thrue Larry, that s dyin\\nfor the love uv ye s Biddy, come wid me to the praste\\nbeyant, an be my own thrue wife.\\nBiddy. Och, d ye mane it, Misther Larry\\nLarry. Mane it? Biddy, my darlint (^puts his arm\\niibout her waist), I m a lonely Irishman, widout the con-\\nraniences uv relations, a pinin for the swates uv domes*\\nticlife. Take me to ye s heart, for I m cowld wid thi\\nhunger uv love that burns in my bosom.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0152.jp2"}, "153": {"fulltext": "AMONG THE BREAKERS. 147\\nBiddy, Tro:h, Misther Larry, yer a broth uv a boy,\\nBO ye are an wid the praste s blessin Til be your own\\nthrue wife, Biddy Baue.\\nLarry {emhracing her). Och, ye darlint, it s crazy I\\nam wid the joy I fale. By the blissid St. Patrick, we ll\\nbe the happiest couple iu the wide world.\\nBiddy, That we will. Now let me go. The brick-\\nfast s not riddy, an the table s not laid. {Goes^ R.)\\nLarry. I say, Biddy like a thafe I stole a kiss {ap\\nyroaching her) like an honorable gintleman I put it\\nback. (^Kisses her. ScuD raises cover,)\\nBiddy. Be aisy, Misther Larry. ^Exit^ B.\\nScud,\\nDe monkey marred de baboon s sister,\\nSmacked his lips, and den he kissed her.\\nShoo {Disappears.)\\nLarry. She s a darlin so she is. The masther s\\nlocked up in his room. Begorra, I ll jist do meself the\\nfavor to lit him out, an set him fray. He s my own\\nmasther, an if he s in throuble, Larry Divine s not the\\nb y to show him his back, jist. {Going L.)\\nScud {throwing off cover and standing up in the harrel).\\nStop dar, Hibernicum, stop dar Dis am a private way\\nit am dangerous trabellin\\nLarry, Out uv that, ye hathen imp of blackness.\\nFlould yer prate, or I ll break\\nJ cad pointing pistol) What s dat Who who\\nwho who s a what? Quit, yer fool! quit, yer fool I\\nDis yer am a deranged rebolber keeps goin round an\\ngoin off, shootin all de time. You can t go in dar.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0153.jp2"}, "154": {"fulltext": "148 AMONG THi: BREAKERS.\\nLarry (retreating). Pat up that pistol. It might\\ngo off.\\nScud, Da s a fact, da s a fact. I tell yer, Hiberiieum,\\ntriberlation am comia sart n sure. De tables am turued\\nDown on yer marrow bones dar, down on yer marrow\\nbones\\nLarry (hneeling). Scud, Masther Scud, ye jewel, i^\\naisy wid the pisthol.\\nScud. Now yer jest mind what I say. Ain t got dig\\nchile by de scruff ob de neck dis time. Now, mister, say\\nwhat I tole ye. I m a red-headed, meddlin pugniferous\\nHibernicum. Say it by golly, can t hold dis yer\\npistol.\\nJjarry. Yes, yes. I m a rid-headed by my sowl\\nI ll break\\nScud. De pistol am goin*.\\nLarry. I m a rid-headed, middlin pugnacioua\\nMickey 1\\nScud. Da s a fact. Brack libbered, ugly say it.\\nLarry. Niver, ye thafe.\\nScud, It s goin it s goin can t hole him.\\nLarry. I m a black-livered\\nScud. Da s a fact, da s a fact scoundrel eay it.\\nLarry, Scoundrel. (^Aside.) That ye are.\\nScud, An* Massa Scud am a gentleman. Can t hole\\nde pistoL\\nLarry. An Masther Scud am a gintleman (^Asidt.)\\nThafe.\\nScud. Now den, Hibernicum, shake yer hoof, shaka\\njrer hoof, vamose. One two tree\\nLarry (rising). Off it is, belave it, honoy. (Oca U", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0154.jp2"}, "155": {"fulltext": "AMONG THE BREAKERS. 149\\nioor, c.) I ll be avin wid ye, ye black thafe of the\\nworrld.\\nScud. De pistol am a goia can t hole 1dm, by golly,\\ncan t hole him. {Exit Larry, o.) Golly, see um run.\\nDe day ob triberlation am come. Massa cap n tole me\\nto get under cober an watch dat ar door. Dis yer am de\\nonly cober I kin find. Almos stuffocate me. My knees am\\nall out ob jint in de barrel, but dar ain t nobody goin into\\ndat ar door while I ve got dis yer pistol. Hallo some-\\nbody s comin*. Whars de cober? It am clean gone,\\n(Drovs into barrel.)\\nEnter Paragraph, c, with note-hook.\\nParagraph. What s this a murder The Irishman\\nsaid that somebody had murdered somebody. His mas-\\nter locked up, and to use his expressive words, Owld\\nNick broke loose. Peter, you re in luck. Here s an\\nitem. Writes.) Horrible outrage. Dastardly as-\\nsassination. The banks of Fairpoint bathed in gore.\\nHigh crime on the Lowlands. Testimony of an eye-\\nwitness. Our special correspondent on the spot.\\nThere s a heading for an extra. But where s the mur-\\nderer, and where s the murdered? The light-keeper\\nlocked up He must be the assassin. I ll interview\\nhim. What Miss Daze, my adored Minnie, for whom\\nI fished and lost? I ll try her with a fresh bait. (Takes\\nout his handkerchief.)\\nEnter Minnie, r.\\nMinnie. Mr. Paragraph I Sir, I thought we wer\u00c2\u00bb\\nto have no more of your society.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0155.jp2"}, "156": {"fulltext": "150 AMONG THE BREAKERS.\\nParagraph {idth affected emotion). Minnie, ah,\\nMiss Daze, I am about to leave this place, hallowed\\nby tender recollections, never to return. Wipes his eyes,\\nAfter a sleepless night, I have come to my senses. Yes,\\nPeter, who so madlj^ loved you, adored, celestial, seraph-\\nic, ecstatic, unaffected divinity of loveliness, has come\\nto a realizing sense of his inferiority. The said Peter\\nnow sees how high you are above him. Pardon this\\nweakness. (Weeps^ and blows his nose,) In an hour\\nyou will find said Peter, your once loved Peter, far away.\\nYou ll never hear of him again, save by report* of his\\nvalor in the field.\\nMinnie In the field What mean you Peter Mr.\\nParagraph\\nParagraph, To-morrow I enlist in the noble army\\nof martyrs who serve our dearly beloved Uncle Samuel\\nto-morrow I don the habiliments of a soldier the\\ntightly-fitting pantaloons, the bagg}^ coat of blue, and\\nmarch away to battle against Lo.\\nMinnie, Against who\\nParagraph, Lo, the poor Indian, on the broad\\nprairies of the West. Ah, the thought is a soothing\\nbalm to my lacerated bosom. It is an inspiration. I\\nfeel the glow of martial fire the smoke of battle fills\\nmy nostrils. I see the red man of the forest m}^ hand\\ngrasps his top-knot my gleaming knife encircles his\\nhead. Ah, ha his scalp is at my belt.\\nMinnie, How romantic. O Peter! glorious Peter!\\nyou were born to be a soldier.\\nParagraph. There s but one drawback to this glow-\\ning picture. To leave you, whom I so madly love, to", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0156.jp2"}, "157": {"fulltext": "AMONG THE BREAKERS. 151\\nleava you, fair type of civilization, to find companion\\nBhip with the red squaws of the West. The thought\\nis madness.\\nMinnie. And do you think I will submit to tht\\nparting? No, Peter. When you go forth as a sol-\\ndier I will be by your side. I will carry your mua-\\nket I will share with you the burden of your knap-\\nsack, and, on the far distant prairies, cook for you th^\\nsportive buffalo, while you scalp the red man.\\nParagraph, 0, this is too much. Devotion, thy\\nname is Woman. Minnie Daze, I m all ablaze with\\nlove and valor. Thus do I swear fidelity to you, my\\nsoldier bride. (Kisses her.)\\nScud (popping up his head), Dat s de sojer s fust\\nshot, all de world ober. (Disappears,)\\nMinnie. O, Peter, how could you? Pardon my\\nblushes twas so abrupt. Give me time to recover.\\nAnon we ll meet, my gallant soldier. O, this is indeed\\nromantic. \\\\_Exit^ r.\\nParagraph. Go for a soldier Not much, my bloom-\\ning Minnie. I ve made peace with you without a bat-\\ntle, and I ll contrive to keep it without the help of the\\nred man. Now, then, to interview the murderer. That i\\nhis room. (Going l. Scud rises in the barrel.)\\nScud. Halt dar, Massa Paragruff.\\nParagraph, Scud I What are you doing in that\\nbarrel\\nScud, Dis yer am de sentry-box, Massa Paragruff.\\nParagraph, O, ho I I see. You are on guard.\\nScud. Yaas, Massa Paragruff. I m de bra-.t ^vsxd\\n\u00e2\u0080\u00a2b de place.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0157.jp2"}, "158": {"fulltext": "152 .AMONG THE BREAKERS.\\nParagraph. Exactly. There has been a murder coa-\\nmitted. Am I right\\n^cud. Yaas, indeed. Almos killed a man.\\nParagraph. Good. Hold on a minute till I get my\\nQote-book. {TaJces out note-book.) I ll interview yoc\\narst.\\nScud. Interwhich? Yaas, I gue\u00c2\u00abs not. Yer can t\\ncome inter dis yer barrel.\\nParagraph. Now then, Scud, tell me all about it.\\nYou witnessed the deed?\\nScud. Yaas, indeed, I was dar, chile, in de thickest\\nob de fry.\\nParagraph. Yes. {Writes.) Scud, intelligent col\\nored man age, forty occupation, servant witnessed\\nthe deed.\\nScud. See hyar, Massa Paragruff, what yer doin* dat\\nfor? What yer writin my photography for? I didn t\\nkill nuffin.\\nParagraph. It s all right. Now, then, who waa\\nmurdered?\\nScud. Hey Why, de wictim, ob course.\\nParagraph. But who was the victim\\nScud. Why, de chap what was de wictim.\\nParagraph. O, ^tuff! What was his name?\\nScud. De back name, or de front name?\\nParagraph. Both, you mule.\\nScud. Young man, look hyar. If you go fcr to\\nhurlin obstreperous epigrams at dis yer chile, Vm done,\\ndac s all.\\nParagraph. I beg your pardon, Scud. Please givf\\nme the name Qf th^ vjctimo", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0158.jp2"}, "159": {"fulltext": "AMONG THE BREAKERS. 15ft\\nScud. Why, yer know him. Twas Massa Clarence,\\nParagraph. Clarence murdered, and I asleep. Writes.)\\nVictim, Clarence Hunter age, twenty-one pride of\\nhis father promising youth cut off flower of man*\\nhood. Go on. Who was the murderer?\\nScud. De fellow wid de knife.\\nParagraph. Deed committed with a knife. WelL\\nScud. Well, you see, Massa Clarence was a sleepin*\\nonto de bench down dar, an I was a sleepin onto de\\nfloor down dar, an de fellow come into de door dar wid\\na knife an he stan up in de floor jes dar, an de lighten\\ncome, an I seed him. Den he went for Massa Clarence,\\n%n dis yer chile went for him, an somefin dropped, dat s\\nall. Den we locked him into dat yer room.\\nParagraph. In that room Enough. From the lips\\nof the murderer I will hear the rest. O Peter, you re\\nin luck. Here s matter for two columns of sensation.\\n{Going J L.)\\nScud. Hole on, Massa Paragruff. Whar are you\\ngoin\\nParagraph. Into that room.\\nScud. Can t do it, no sar. I am de cap n ob dis yei\\ndis yer barrel, an dar ain t no passin dis yer bul-\\nwark, no sar.\\nParagraph. What, would you hamper the freedom of\\nthe press\\nScud. Don t know nuffin bout de press. Free list\\nam suspended. No dead heads in dar. No, sar;\\ncan t go.\\nParagraph. But I shall. My professional reputation\\nla at stake. Stand back.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0159.jp2"}, "160": {"fulltext": "154 AMONG rHJL BREAKERS.\\nScud (presenting pistol). Stand back yerself, oi\\nyer ll make a bifsteak.\\nParagraph (retreating) Put up that pistdl.\\nScud. Tain t one ob dat kind. It keeps goin round,\\nftjQ* goin off, an\\nParagraph. Put it down, I ll tell your master, yoii\\nscamp, and have you horsewhipped. Point a pistol at\\nft gentleman,* and a member of the press I You shaD\\ncatch it. (Hurries off, c.)\\nScud. Yaas, sar, do, sar, fotch de master, an git me\\nout ob dis yer barrel. Freedom ob de press I Ya, ya I\\ndat am a mighty organ, but dis yer pistol am a sight\\nmore powerfuUer. Hallo dar s somebody else. Can t\\ngo into dat ar room, no, sar, (Disappears in barrel.)\\nEnter Bess, C.\\nBess (singing).\\nEver be happy, gay as a lark,\\nPride of the pirate s heart.\\nRather early to make a call. But it s such a splendid\\nmorning, bright, clear, with a capital breeze, and just the\\nmorning for a sail so, to be hospitable and polite, Tve\\nlaunched my boat, and sculled across the bay to invite\\nmy beau of last night to take a seat. O, wasn t he\\nsplendid so tall, and such a noble style about him I\\nAh, me, Bess Starbright, it s weU for you that he stays\\nbat a day.\\nEnter Clarence.\\nClarence. Well, well. Miss Bess, here you are.\\nBess, Yes, Mr. Clarence, here I am, to wish yon\\nft good morning.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0160.jp2"}, "161": {"fulltext": "AMONG THE BREAKEBS. 15d\\nClarence, IVe been to your house to make a mora-\\nbg call.\\nBess. That s very kind of you. And I took my\\nboat and rowed across the bay, and so rnissed meet-\\ning you on the sands. Come, it s a beautiful morning\\ngive me your company for a sail.\\nClarence. A sail? That s delightful. Shall I call\\nthe rest of our party?\\nBess. Just as you please but but but my boat\\nwill only carry two.\\nClarence. Ah, that s a delightful boat! I thank\\nyou for your kind invitation, and will give you my\\ncompany with pleasure. This is my birthday, Misa\\nBess.\\nBess. Your birthday? Accept my congratulations.\\nClarence. Thank you but I shall ask you for\\nsomething more. I am twenty-one to-day, Miss Star-\\nbright, and with my manhood comes the possession of a\\nlarge property, and an income sufficient to satisfy the\\nmost lavish disposition.\\nBess (aside). Rich! Ah, me! would he were as\\npoor as I. (Aloud,) I m very glad, sir,\\nClarence. Yes, I have wealth. I also have a pair\\nof strong arms, a healthy frame, a passably clear head,\\nand, I hope, a warm heart. I m rather an oddity, for\\nI believe nothing in this world is of any good unlesi\\nit is made useful and unless I can make the wealth\\nservo me as well as I have made the others, I shalj\\nthink my birthday gift of fortune is a useless incum*\\nbrance.\\nBess\u00c2\u00bb Why, I declare^ sir. You re quite a preach\\n\u00e2\u0080\u00a2T, too.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0161.jp2"}, "162": {"fulltext": "136 AMONG THE BREAKERS.\\nClarence, Am I Do you know what text I ihoidd\\nlike to preach a sermon from\\njBestf, Tm sure I don t.\\nClarence. With you as the congregation, I as the\\npreacher, Love one another.*\\nBess. Sir Mr. Clarence\\nClarence. Miss Starbright Bess listen to me.\\nLast night, after you left me, I stood at your window.\\nI heard the sound of a piano and your voice, sweeter\\nthan any which ever fell upon my ears. You have\\nbeauty, taste, talent. You are out of place here. I\\nhave met beautiful, cultivated women in society, but\\nnever before has my heart been moved by that mighty\\npower which makes or mars all destinies. Bess,\\nlet my hand lead you to a station more fitting your\\naoble, brave spirit. Be my wife, Bess, for I love you.\\nBess. You love me? you rich, I a poor girl?\\nClarence. Nay, let s drop comparisons, or change\\naames, for your brave acts would count in honorable\\nf^ealth beyond my rich possessions.\\nBess, O, Mr. Clarence I know not what to say.\\ncannot but be pleased with your preference. I, too,\\naave had my sweet dreams since you came here, but\\ntis so strange. Tis better we should let it pass as a\\nIream. To-day you will leave me to-morrow yoo\\n^ill look upon it as hut a dream, and forget me.\\nClarence. Tis a dream from which I hope never\\nawake then. No, Bess, I am determined ycu shaU\\nee my wife.\\nEnter Htjnteb, C.\\nBtmter. And he s a most determined young scamp,\\nUiss Besft.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0162.jp2"}, "163": {"fulltext": "AMONG THE BBEAKEBS. 15}\\nBess. W]iat, Mr. Hunter, will you allow this?\\nHunter. I cannot help myself. He is of age and\\nMsides, I rather like his spirit.\\nBess. But what will Mother Carey say?\\nEnter Mother Caret, c.\\nMother G, Be not too hasty. Time tries all. Wait\\nThere are mysteries to be cleared, accounts to be set-\\ntled, wrongs to be righted. Love can wait, as well as\\nhate.\\nClarence. Nay, Mother Carey, there s no time like\\nthe present. I love your daughter would make her my\\nwife. I believe I can gain her consent. Have I yours\\nMother C. Patience, boy, patience. An hour from\\nnow the tide will change. Who can tell what its\\nflood may strew upon the beach, perhaps treasures\\nof hope and joy perhaps fragments of wrecked hopes,\\nand ghastly corses of despair. Wait, boy, wait. Come\\nto me then, and what I have the right to bestow shall be\\nyours.\\nClarence. Thanks I will await your pleasure.\\nCome, Bess, I m anxious for that sail.\\nBess. Gracious I forgot all about it. Come, yon\\nshall see how I manage a boat.\\nClarence. And then you shall see how I manage a\\nwife.\\nBess. When you ve caught her. Come along, sir.\\n\\\\_Uxitf a\\nHunter. Hallo, Scud! {Scxtd rises from barrel)\\nScud. Ay, ay, Massa Cap n.\\nHunter. What in ths world are you doing there?", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0163.jp2"}, "164": {"fulltext": "158 AMONG THJS BREAKERS.\\nScud. I s on guard, Massa Cap n. i idn*t ye toJi\\nme to watch de door dar Spec I did wid a pistle,\\ntoo.\\nHunter. Well, get out of that barrel quick I\\nScud (tips the barrel down, and crawls out), Kelibe\\nguard Yaas, sar, spec I will. I, gollj, got de rheu-\\nmatiz in my heel. {Hobbles to door^ c.) Here, cap n,\\nhyar s yer pistle. (Hunter takes it,) I jes paid rff\\ndat ar Hibernicum {At door^ c, a broom comes down\\nupon his head.)\\nLarry. Ye did, ye thafe uv the worrld\\nScud. By golly, stop, yer fool Help help {Buns\\nacross stage^ folloiued by Larry beating him.)\\nLarry. I ll tache ye, ye black son of a gun. [Exit^ B.\\nHunter. And now we are alone, I thank you for\\nthe service you have performed in disclosing a villain.\\nMay I not ask you to clear this mystery\\nMother G. Bruce Hunter, or Carter, it matters\\nnot, you are a noble man. In all honorable ways,\\nyou have attained the love of friends, great wealth, a\\nhigh name in the council halls, the good opinion of your\\nfellows. One more effort, and happiness is yours.\\nHunter, Still mysterious. What must I now do\\nMother G. Bring a sinner to repentance.\\nHunter. I am still in the dark.\\nMother G. Listen. Fifteen years ago, under my\\nhumble roof rested a woman weak and faint after a long\\njourney. Her story was a bitter one. Young, the\\nbloom of girlhood scarcely swept from her cheek, she\\nwas a wife and mother. Her husband was a reckless,\\ndissipated man, whose father had disinherited him fof", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0164.jp2"}, "165": {"fulltext": "AMONG THE BREAKEBS. 151\\nmarrying a poor girl, willing his property to an\\nadopted son.\\nHunter. Paul Hunter\\nMother C. And yourself. My characters are real.\\nFired with revenge, the disappointed man determined\\nto rob his foster brother of his dearest treasure. The\\nwife, with tears and supplication, attempted to per-\\nsuade him from his purpose. He struck her to the\\nearth, sought the home of his enemy, and accomplished\\nhis purpose.\\nHunter, So far all s true. The rest is mystery.\\nMother G, He fled but not unwatched, for the wife\\nstealthily followed.\\nHunter. Wretched woman She should have sought\\nthe unhappy father, disclosed the hiding-place of the\\nvillain\\nMother G. She was his wife. The two were one.\\nHis secrets were her secrets, to be kept sacredly.\\nWith the knowledge of his guilt she must cover her\\nhead, though the heavy burden crush her to the dust.\\nShe found his hiding-place watched and waited for\\nthe hand of fate to lead the father to his child. For\\nshe had made a vow that while her husband lived her\\nlips should be silent, unless that husband, on his bended\\nknees, with remorse leading his guilty soul to repentance,\\nshould himself proclaim the truth, and sue for pardon.\\nHunter. Where is that woman?\\nMother C. Beyond your reach. Bruce Hunter, ha\\nwho so wronged you is at your mercy. In your handa\\n18 the weapon that can take his life in your heart is\\nthe power \u00e2\u0099\u00a6a lead him to repentance. Use either, and", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0165.jp2"}, "166": {"fulltext": "160 AMONG THE BBEAKEBS.\\nthe mystery is cleared. You have your choice. Bva\\nreflect. Revenge, speedy, quick, terrible, blots out a\\nwretched life, to stain you with its blood repentance\\nwashes a soul, brings it nearer to a merciful Father,\\nand weaves into your spirit the rich reward of a noble\\nact. (^At door^ c.) Bruce Hunter, I have done. When\\nnext we meet, the mystery is cleared. [^Exit^ C.\\nHunter (^sinking into chair r. of table). You have\\nyour choice. The power is in your heart to bring him\\nto repentance. Tis false. There s nought within this\\nbosom but a fierce desire for revenge. When I re-\\nmember these long years of separation from one who\\nmight have made my life so happy when I remember\\nthe cruel wrong wrought by this inhuman monster, can\\nI stop to parley with him, to turn him to repentance?\\nNo this weapon shall right me quick, and thus restore\\nmy daughter. {Bises.) Daughter Ah, but when I\\nhave her in my arms, will she not shrink from the em-\\nbraces of a father whose hands are stained with blood?\\nThat woman is well skilled in her vocation. She sets\\nfierce passions warring in my breast, and stakes her for-\\ntunes on the power that in life s battle oft for me has\\nwon the field. She s right. I cannot sully the fair record\\nof the past with crime. Away the thought. Heaven\\nhelp me to subdue this man. {Goes r., unlozhs door, and\\nthrows it open.) Paul Hunter You are wanted. (Be-\\nturns to seat r. of table,)\\nDavid (outside, l.). Wanted, ha, ha! by the officers\\nof justice. Well, I am ready. {Enters, l.) I am\\nready. How? alone? Come, let s have no delay in\\n^8 business. I am anxious to enjoy the quiet of grinc", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0166.jp2"}, "167": {"fulltext": "AMONG THE BREAKERS. 19\\\\\\nfrails, the solitude of the felon s cell. Bring in yom\\nmen. You ll find no resistance. I ll walk as calmly to\\nmy fate as did the martyrs to the stake.\\nHunter, There are no officers here. You are ai\\nfree as I.\\nDavid. Free Have you forgotten, that last night I\\nattempted your life that I would have killed you as I\\nwould a snake that bit me?\\nHunter. O, no, I haven t forgotten it, Paul. But\\nfor the fidelity of a faithful friend some one would have\\nbeen a corse this bright morning.\\nDavid, Faithful friend Curse him,\\nHunttT, And he saved a life dearer than mine.\\nYour little plot failed, Paul. *Twas the boy whose*\\nlife was endangered, not mine.\\nDavid, Bruce Carter, you have escaped me but if\\nyou value your life, leave this place forever. There s\\nfiend in my bosom urging me to murder there s a\\nfrenzied power creeping through my frame I cannot\\ncontrol. Begone ere tis too late.\\nHunter, Tis too late now, Paul Hunter too late for\\nyou and I to separate, until that dark veil which covers\\nthe past is lifted. For fifteen years you have embittered\\nmy life and now, when we meet, you bid me begone.\\nFool you forget I am the avenger now. Tis my wrongs\\nthat cry aloud. Of what do you complain\\nDavid, Complain? Nothing. Why should I? There\\nwas a rich old father in the past, whom I loved dearly,\\nand who loved me but another stepped in between, and\\nrobbed me of his love. But I must not complain. Ha\\ndied cursing me twas the work of this other. But I\\n11", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0167.jp2"}, "168": {"fulltext": "162 AHONG THE BREAKERS.\\nmust not complain. Those broad lands, elegaot houses^\\nstores of notes and gold yonder, mine by right, which\\nthis other enjoys. But I must not complain.\\nHunter. You re wrong, all wrong, Paul.\\nDavid. Silence I know your smooth, oily\u00c2\u00bbtongue\\nI knew that from the moment you stepped into my father s\\ndoor, your aim was to destroy my influence, and reign\\nsupreme. I knew this, and you succeeded. I couldn\\nbeat you there, but I had a terrible revenge.\\nHunter. You stole my daughter.\\nDavid. Ay, from her cradle. Yes, the smooth tongue\\nwas wanting, but a soft step, a subtle trick outfought\\nyou, Bruce Carter and I bore her oflf in triumph.\\nHunter. Where is she now?\\nDavid. Where you will never find her. I foiled\\nyour efforts to track us, for I knew whom you suspected.\\nAh, twas a glorious victory. One other would content\\nme. To snatch you from my rich possessions, mine,\\ndo you hear, Bruce Carter to get my hands about your\\nthroat, to drag you to the bank beyond, and hurl you into\\nthe breakers. That would content me. You hear me\\nWe are alone, face to face. I ll struggle with you for a\\nlife, to end this mortal hate. {Approaching him fiercely\\nHunter (^producing pistol). Stop There s a quicker\\nway than that which you propose. Tis loaded, works\\nwell, is deadly sure. I ll place it here upon the table\\n(layfi it on table), within your reach. At any moment\\nyou f nn grasp it, and with it take my life. I only ask\\nthat you will patiently listen to what I shall say.\\nDavid (quickly places his hand on pistol). You re b\\nmy ji(\u00c2\u00bbwer. Yes, I ll listen.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0168.jp2"}, "169": {"fulltext": "AMONG THS BREAKERS. 16S\\nHunter, Paul, your life has beeu all a mistake youf\\nedtimate of me is all a mistake. I never tried to sup-\\nplant you was always your friend, You remembei, you\\n*vere dissipated, married against your father s command.\\nOiUn I have stood your friend, but you would not believe\\nme, so twould be useless to try to convince you of my\\nfriendship.\\nDavid. Bah Rather weave ropes of sand.\\nHunter. I never saw the girl you married. I think\\nyour father was mistaken in her.\\nDavid, Mistaken She would have graced hia\\nnoblest assemblies. She was too good for me.\\nHunter, .nd so you deserted her?\\nDavid. Have a care, Hunter. I m desperate.\\nHvAiter, Your father, by a will, made me his heir.\\nDavid, Why torture me with that?\\nHunter. To make plain what follows. One night I\\nlost my daughter. You know how.\\nDavid. Indeed I do.\\nHunter, The night following, a little boy, a bright\\nlittle fellow, about six years of age, was brought to my\\nhome, with a note, running something like this This\\nbo^ nas been deserted by his father, who has wronged\\nyou. His mother cannot care for him, as a stern duty\\ncompels her to fly. You are rich, powerful, enjoying\\nwhat might have been this boy s. Be a father to the son\\nof Paul Hunter, and Heaven and a despairing mother\\nwill bless you. Signed, Mary.\\nDavid, My wife and son Mary My wife O,\\nhow that name strikes upon my heart. Well, the boy\\nHunter. By the provisions of your father s will I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0169.jp2"}, "170": {"fulltext": "164 AMONG THE BREAKEBS.\\nwas required to take the family name. By his bounty\\nand affection I was already in good practice as a lawyer.\\nOf the property willed me, I kept a strict account, in-\\nvested in the surest and safest manner, never used one\\ndollar for my own advancement, so that now the property\\nhas trebled in value, and to-day, by my own free act, is\\ntransferred, with full title and possession, to one who is\\nof age to-day your son.\\nDavid {aghast). My son My son\\nHunter. Yes, the boy who has been, and is as dear to\\nme as the little girl I lost the boy who has grown to\\nbe a noble man, with brains to conceive and energy to\\naccomplish the boy whose life you attempted last night\\nyour son Clarence Hunter.\\nDavid. No, no, not that. Bruce Carter, spare me\\nspare a miserable wretch. Attempt the life of my own\\nson Open, earth, and hide me fall, ye walls, and\\ncrush me. I am accursed accursed accursed Grouches\\non stage.)\\nHunter. Come, Paul, I think you will believe- me\\ninnocent of any design to ruin you. Let us bury the\\npast. For that boy s sake be a man shake off* this de-\\nsire of revenge. Come, I offer you my hand.\\nDavid. Your hand, Bruce, to such a wretch as\\nNo, no, I see now my error. You are a noble man,\\nBruce. You have repaired wrong with blessing. Take\\nyour hand? Why, mine would stain it Ah! the\\nchild 1 Hark Do you hear the breakers They\\ncome dash dash creeping all about us. See\\nsee that face! it comes again the little gir! sad\\nfiBiee, tearful eyes on the crest of the breakers 1 Drivf", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0170.jp2"}, "171": {"fulltext": "AMONG THE BREAKERS. 161\\nIhcm back shut those eyes they burn into n j\\nsoul.\\nHunter, The child my child, Paul?\\nDavid. Yes O Bruce, if there s a spark of man*\\nhood in you, revenge your wrongs. There s the weapon\\nat your hand. Blow out my brains. Here, on my\\nknees, I beg for pardon, ere you fire on my knees, Bruce.\\nBut do not spare me. I am a murderer, the child is\\ndead!\\nHunter, Dead dead Then all s lost\\nUnter Mother Caret, a\\nMother G. No, all s well. The child lives.\\nHunter. Do not deceive me.\\nMother C. That repentant man at your feet bore her\\nto the shore, twas the night of the wreck, plunged\\nher into the waves, thinking no questions would be asked\\nwere she found with the dead passengers of the wreck.\\nBut the waves cast her up, high up upon the beach, and\\nshe was cradled in a mother s arms. She lives (Enter\\nBess Starbright, c.) Bruce Hunter, behold your\\ndaughter.\\nHunter. She my daughter The proof who are\\nyou?\\nMother C. The woman of the silent tongue, the pr^\\ntector of your child, the deserted wife (throws off ivig\\nand cloak^ appearing in dark dress) Mary Hunter.\\nDavid. Mary, my wife, what does this mean? (Sits\\non bench, and covers his face.)\\nMother C. Bess, the father I promised you, has come\\n9d last. Bruce Hunter, take your child. I have full\\nproo\u00c2\u00a3", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0171.jp2"}, "172": {"fulltext": "166 AMONG THE BREAKERS.\\nHunter. M7 daughter Takes her in his arms,) It\\nmust be true, it must be true. Bess, the uame yoiu\\nmother gave you, your eyes so like hers strange I\\nshould not have noticed them befoie.\\nBess. Dear father, how glad 1 am to know you 1\\nMother Carey has always told me that he would come to\\nclaim me. I never dreamed that he would be the father\\naf Clarence.\\nHunter. Clarence? He is not my child. One good\\nturn deserves another. Mary Hunter, you have restored\\nmy daughter. I give you back your son, brave, noble,\\nhonorable. Clarence, I promised you astounding disclo-\\nsures to-day. This lady is\\nMother C. Your mother, Clarence.\\nClarence. My mother?\\nHunter. She is right. I will explain.\\nClarence. Dear, dear mother. (Kneels at her feet.)\\nMother C. (raising him in her arms). Here, to my\\nheart, my boy. Hard must be that duty which separates\\na mother from her child. This happiness repays all my\\n^ains.\\nClarence. Mother, I know not what witchcraft you\\nhave practised here I only know that Mr. Hunter never\\njret deceived me, and something in my heart tells me he\\nis right now.\\nEnter Paragraph and Minnie, c. Comr down^ b.\\nParagraph. Mr. Hunter, Miss Minnie and myself\\nhave just been calculating the exact hour of your de-\\nparture.\\nMinnie, We are so impatient to be off.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0172.jp2"}, "173": {"fulltext": "AMONG THE BREAKERS. 167\\nEnter Scud, c.\\nScud. De yacht am all ready. Dar s a breeze spruag\\nflp from the sow sow north by west, an\\nDe ship it am ready, an de sails dey are set,\\nSo I must be off to sea, Phoebe Jane.\\nHunter. Nay, there s no hurry, friends. The old for-\\n\u00e2\u0080\u00a2one-teller has turned out to be a very dear friend, and\\nwe are in no hurry to leave this spot.\\nClarence. Mr. Hunter, I m in a very awkward pre-\\n\u00c2\u00abIicament, for I love Miss Bess Hunter as dearly as I love\\nBess Starbright.\\nHunter. My dear boy, don t give yourself any uneasb\\nticss. Bess, my child, you love Clarence?\\nBess. I m afraid I do, father.\\nEnter Laret and Biddy, b.\\nHunter {joining their hands). Then be happy. Next\\nw the happiness of calling you my daughter^ is the joy\\n\u00c2\u00abr having the power to make my dear boy\\nThe happy bridegroom of so fair a bride.\\nLarry. D ye hear that, Biddy. There s to be a wed*\\nIm\\nBiddy, Och, bless their dear hearts.\\nLarry. If ye plase, Misther Hunter, Miss Biddy aa\\nI am thinkin uv pairin off.\\nScud {at door^ c. Sings).\\nDe monkey marred de baboon s sister-*\\nHunter. Silence, Scud I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0173.jp2"}, "174": {"fulltext": "168 AMONG THE BREAKERS.\\nLarry, Ah, ye hathen An* if ye plase, sir, wcuUI\\nthe young eouple want sarvants\\nBiddy, Yis, sir, to tind the door and kape the hom\u00c2\u00ab\\ntidy.\\nLarry. An tind the childer\\nBiddy. Whist, Larry it s spilin the chance, ye are.\\nHunter, I understand. We will remember you,\\n(Bess and Clarence, hand in hand, go up to Motheb\\nCarey. She raises her hands, as though blessing them.\\nParagraph and Minnie come down, r.) v\\nParagraph, Mr. Hunter, as you seem to be master of\\nceremonies, permit me to announce the early marriage\\nof the beautiful Miss Minnie Daze and the versatile Peter\\nParagraph.\\nMinnie, Peter, how can you, before all these people\\nHunter, Accept my congratulations.\\nParagraph, Thank you. Being about to enter ths\\nministry, I find a wife will be a necessity.\\nHunter, The ministry Why, you change professions\\nrapidly, Paragraph.\\nParagraph. Do I? Well, I always did wish to be a\\npastor of a flock, it s so ennobling.\\nMinnie, And so romantic. {They retire up stagey\\narm in arm,)\\nHunter, Chameleons, that change their hues, and live\\non air. Grosses to r.) Ah, Paul Hunter, Clarence,\\nI told you this was the great clearing-up day. There s\\nanother disclosure I must make. This man, whom you\\nhave known as the light-keeper\\nDgLvid {rising). Is the light-keeper still. {Aside U\\nHcTNTER.) Not that name to him. He would hate mer", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0174.jp2"}, "175": {"fulltext": "AMONG THE BREAKEBS. 169\\nHe knows 1 sought his life. Give me time. I would\\nnot blast his happiness now. Wait. (Crosses, c.)\\nMother Carey, before you quit this place, do a kindness\\nto an old neighbor. (Mother Carey comes down, c.)\\nbefore you quit your old vocation, tell me my fortune.\\nHere s my hand. What read you\\nMother C. (takes Ms hand). Here, nothing but in\\nyour heart I read the story of your future life. I see\\nthe dark stormy clouds of revenge slowly but surely drift-\\ning away from your life. Gleams of hope appear, brighter\\nand brighter, as an old dream of love glows upon your\\nmemory as she who was so faithful to you, forgetting\\nall wrongs, with the fondness of earlier days creeping\\ninto her being, yearning to be nearer and dearer, forgives\\nand pardons all.\\nDavid (falling on his knees, and kissing her hand),\\nMary, Mary bless you bless you\\nMother G, Time washes away all sorrow. As we\\nstrive to brighten life with good deeds and true repent-\\nance, so will you strive, Paul, and the dark night shall\\npass away, and bright the morning come to bless our\\nnew espousal.\\nDavid (rising). True wife may I never forget\\nyour goodness. *Twas a dark night, indeed, that swept\\nmy soul. I will strive, and, with Heaven s blessing and\\nyour dear aid, win peace for my soul. Ah, wife, I have\\nbeen like the unmanageable ship upon the waters, swept\\nby the fierce winds of hate, battered by the cruel waves\\nof remorse. They have cast me among the breakers, but\\nnoble hands (takes Hunter s hand, r.) have been\\nstretched out towards me, and out of the darkness hai", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0175.jp2"}, "176": {"fulltext": "170 AMONQ THE PREAKERS.\\ngleamed the light of hope (takes Mother Carey s\\nhand, l.), and on the open sea of repentance a strong\\nand steady purpose shall waft this battered hulk to a\\nhaven of rest,\\nTABLEAU.\\nDavid, c, clasping the hand of Hunter, r. c. Ms le/i\\nhand in Mother Carey s her right hand on his shouU\\nder. Paragraph and Minnie, r. c, arm in arm. Ciu e-\\nence and Bess, l. c, arm in arm. Scud cU door^ c\\nhAXBLT and Biddy, b. c, back.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0176.jp2"}, "177": {"fulltext": "GENTLEMEN OF THE JURY.\\nA FARCE.\\nFOB MALE CHARACTERS ONLY.\\nCHARACTERS.\\nPeleg Precise, Foreman. Job Timorous, Jacob Doubtftji*,\\nAbel Strongfist, Jarvis Jolly, Solomon Snowball, Den-\\nnis O RouRKE, Nathan Short, Enos Paunch, Brazen\\nBlower, Peter Punster, Simeon Slow, Jurors.\\nScene. A Jury Eoom, Table, c, with paper y pens^\\ninky c. Twelve chairs around stage.\\nEnter from r. all the characters^ in the order in which\\ntheir names are written^ single file, across Stage^ and\\nface Audience. Door at r. is slammed and locked.\\nTimorous. Good gracious we re locked in {Bushes\\nacross stage to r.) Here, officer officer\\nSlow {ai extreme b., catching Timorous by arm^ and\\n171", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0177.jp2"}, "178": {"fulltext": ".172 GENTLEMEN OF TH^ JURY.\\nswinging him round). Stop that. It s all right, you\\nknow.\\nTimorous. No, I don t. I m afraid of fire\\nFunster (swinging him round to next man\\\\\u00c2\u00bb What er\\nthat?\\nTimorous, And subject to fits\\nBlower (ditto). You re no juror.\\nTimorous, I must have air\\nPaunch {ditto). Where air you, now?\\nTimorous, Or smother\\nShort (ditto). Take him to his mother.\\nTimorous, What do you call this treatment?\\nO^Rourhe (ditto). The movement cure, bedad.\\nTimorous, It s outrageous\\nSnowball (ditto). Da s a fac da s a fac honey.\\nTimorous. Diabolical\\nJolly (ditto) Ha, ha now you go ag in.\\nTimorous, Infamous\\nStrongfist (ditto). Move on, stupid.\\nTimorous, I won t stand it.\\nDoubtful (pushes him into chair). Then sit down.\\nPrecise (at table). Gentlemen, be seated. (All sit.)\\nBefore we discuss the case with which we have been in-\\ntrusted, perhaps we had better take a vote.\\nShort, My idea exactly.\\nO Rourhe, Begorra, let s take something cowld.\\nPrecise, We have been instructed to bring a verdict,\\nGuilty or not guilty. Please write your verdict.\\nHere are slips of paper. (Passes them round. All write^\\nsome on the table^ some on chairs Snowball writes his\\nagainst the wall.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0178.jp2"}, "179": {"fulltext": "GENTLEMEN OF THE JURY. 173\\nO Rourhe (approaches Snowball). Whist! I say,\\nd ye write Guilty wid a G or a J\\nSnowhalL Ob course not. Write him wid a pencil\\nso.\\nO Bourke. O, be jabbers It s yerself s a heathen\\nyou ignoramus.\\nPrecise, Now, gentlemen, if you are ready. {CoU\\nlects votes^ spreads them on tahle^ and assorts.)\\nTimorous, I w^ant a glass of water Tm faint.\\nStrongfist, Shut up. Don t disturb the meeting.\\nO Eourke, Bedad, it s a glass eye ye ll be wantin if\\nyer do.\\nPunster, His eye waters at the thought.\\nPrecise. Gentlemen, the vote stands, six Guilty/\\nsix Not guilty.\\nJolly, Hallo, a clean cut\\nShort, Six mules in the crowd, certain.\\nO Bourke, A majority on both sides, d ye mind.\\nSnowhalL Major who? Major who? Dar ain t no\\nsogers here, hey, I ax you\\nPrecise, Well, gentlemen, there s work before us and,\\nthat we may know each other, I propose that those who\\nvoted guilty take seats on the right, those who voted\\nnot guilty, on the left.\\nShort. Good. I m for the right.\\nJolly. I feel decidedly guilty.\\nSlow. And so do I.\\nStrongfist, Eight face. March\\nO llourke. Begorra, captain, I ll train in that com-\\npany. {They all pass to R. as they speak. Doubtful,\\nTimorous, Snowball, Paunch, Punster, and Bloweb\\npass to L.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0179.jp2"}, "180": {"fulltext": "174 GENTLEMEN OF THE JURY.\\nPunster, Though on the left, we re in the right.\\nPaunch. Well, look here, I m getting hungry. Ain t\\nwe going to have our dinner?\\nBlower, You re always thinking of eating.\\nSnowhalL By golly, da s a fac Dat ar Mr. Punch\\nhab an appetite like an earthquake.\\nPaunch. Bah! what do you know about it? Well,\\nwake me up when you re through. {^Tips his chair hack\\nagainst wall^ throws ]Lis handkerchief over his face, and\\nfalls asleep.)\\nSnowball, Dar, de old man gwine for Morphine.\\nPrecise. My vote was Guilty, and of course I be-\\nlong with the party on the right.\\nO Rourke. Thrue for yez, honey and ye ll find it the\\nparty that s always right, jist.\\nSnowball. Hold yer hush, hold yer hush\\nO Piourke. Vat s that, ye heathen? I d jist like to\\npound that thick pate till I had yer spachless sol\\nwould. Begorra, ye d cry Guilty then.\\nTi7norous. O, come, let s have peace.\\nO Bourke. Pace, is it? Ye ve had a pace of my\\nmind, onyhow.\\nPrecise. No quarrelling, gentlemen. The quicker we\\ndecide this case the better. The government has charged\\none Peter Popgun with an attempt to defraud the revenue\\nof the manufacturer s tax on gunpowder. Its secret\\nagenis, suspecting said Popgun, made a descent upon\\nhis establishment, which is a country store, seized cer-\\ntain articles, such as saltpetre, sulphur, and charcoal,\\nwhich they found in a certain little back shop, said\\narticles being, in their opinion, used by said Popgun", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0180.jp2"}, "181": {"fulltext": "GENTLEMEN OF THE JURY. 175\\nin the manufacture of gunpowder. The said Popgun\\ndeuies the mauufacture of gunpowder, and sets up a\\ndefence that the said articles are used by him in con-\\ncocting a certain patent medicine, known as the Med-\\nical Dead Shot. Evidence has been produced on both\\nsides. We have been charged to bring in a verdict\\non the evidence alone. I am quite convinced, by the\\ntestimony, that said Popgun did manufacture gunpowder,\\nand evade the tax. Still, I should like to hear a free\\nexpression of opinion.\\nAll (^jumping up), Mr. Foreman.\\nPrecise, Stop, stop. One at a time.\\nAll. Yes, yes one at a time, Mr. Foreman.\\nPrecise, Stop, stop, I say. We can never settle it in\\nthis way.\\nStrongfist. Of course we can t. Let us six fight the\\nother six. That will settle it.\\nO Rourke, True for yez. A fray fight. Fm wid yer.\\n{About to remove his coat.)\\nPrecise. Silence. There can be no fighting here.\\nYou all want to speak. I will call upon each juror,\\ngiving both sides equal advantages of time and oppor-\\ntunity. Is not that fair\\nAIL Certainly. Of course. Go on. Go on.\\nPrecise, Very w^ell. I will first call upon Mr. Tim-\\norous.\\nTimorous {rising). Mr. Foreman, and gentlemen of\\nthe jury. {Very low.) I rise I may say yes, I\\nrise\\nO Bourke, Louder.\\nStrongfist. Speak up like a man.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0181.jp2"}, "182": {"fulltext": "176 GENTLEMEN OF THE JtJRY.\\nTimorous, I said I rise to say, if I may say\\nI rise to say\\nO Bourke, O, be jabbers, you re all out to say.\\n{The pai ty on the L., with the exception 0/ Paunch, rise\\nindignantly.) Mr. Foreman, Mr. Foreman\\nPrecise {pounds on table). Silence! Order, gentle-\\nmen, o rder.\\nBlower. Mr. Foreman, this attempt of the party on\\nthe right to intimidate the party on the left is unjust.\\nPunster. Far from being righteous or courteous.\\nSnowhalL Am we jurors, or am we not jurors? I ax\\nyou?\\nPrecise. The interruption shall not occur again. 60\\non, Mr. Timorous.\\nTimorous. If you please, Mr. Foreman, I only rose\\nto say that, if I might be allowed to say it that\\nI ve got nothing to say.\\nParty on right. Shame Humbug Put him out\\nPrecise, Order, gentlemen. Have you no reason to\\ngive for your vote of Not guilty\\nTimorous. O, yes; lots. I voted Guilty, no,\\nNot guilty, because well, because Popgun don t\\nlook like a man who would concoct such a sanguinary\\nmixture as powder. He hasn t the air of a ruffian. His\\nthoughts don t run in that explosive channel. I m some-\\nthing of a physiognomist.\\nSnowball, Mahogany What s dat\\nTimorous. A physiognomist. I judge by the face\\nParty on right. O, humbug\\nBlower. Mr. Foreman, I protest this attempt to stifle\\nthe voice of Justice is a high-handed crime.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0182.jp2"}, "183": {"fulltext": "GENTLEMEN OF THE JURY. 177\\nSnowhdll. Yes, sar it s bigamy, kleptomania, arson.\\nPrecise, Order, gentlemea. Go on, Mr. Timorous.\\nTimorous, But then I haven t any particular opinion\\nin the matter and if you want me to change\\nBlower, Silence, traitor\\nSnowball. Shut up yer tater trap.\\nPunster, Suppose you sit, for a change. (^Pulls him\\ndoion to seat,)\\nTimorous, Anything to oblige.\\nPrecise, Mr. Jolly.\\nJolly {rising). My turn, hey? Mr. Foreman, and\\ngentlemen of the jury,\\nTo make or not to make, that is the question.\\nWhether tis better to let Popgun suffer\\nThe law s full penalty for mixing powder,\\nOr to take arms against this awful tax,\\nAnd by our verdict free him.\\nGentlemen, Popgun is a dangerous man. I am for his\\nannihilation. He is a second Guy Fawkes. Behind his\\nshop are concealed those explosive materials destined to\\nspread havoc and destruction in an innocent neighbor-\\nhood. We might spare him if the possible destruction\\nof a thousand or two of his immediate neighbors was the\\nonly consequence to be feared. But he s a sneak he\\ndodges the tax. That we must not suifer. The medi-\\ncine story won t do the dose is too heavy it won t\\nstay on the stomach. That gun recoils upon Popgun,\\nwho is too heavily charged by the evidence to be dis-\\ncharged by this jury. (Sits,)\\nPrecise, Order, gentlemen. Mr. Doubtful.\\n12", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0183.jp2"}, "184": {"fulltext": "178 GENTLEMEN OF THE JURY.\\nSnoivhall, No, sar, no, sar. I move we lay him onto\\nde table, sinner die,\\nO Rourhe, Die, is it, ye black sinner? Howld yer\\npate, or you ll die jist.\\nDoubtful {rising). Mr. Foreman, and gentlemen of\\nthe jury, there s one p int in this evidence I want\\ncleared up.\\nO Rourhe, Is it a pint of whiskey, I donno\\nAll. Order, order.\\nO Eourhe. That s what Fd like to do, and drink it,\\ntoo.\\nDouhtful. If that air Popgun made gunpowder, why\\ndidn t somebody see him do it? Cause a man s got salt-\\npetre in his house, and sulphur and charcoal, it doesn t\\nfoller that he s going to make gunpowder. I ve got\\ncharcoal in my house kindle the fire with it sulphur\\nto bleach with saltpetre for curing purposes. But no-\\nbody ever said I made gunpowder. It s rediculous.\\nPopgun s got eggs in his store. Why don t you say he\\nhatched themf {Sits,)\\nSnowhalL Da s a fac da s a fac Second de mo-\\ntion.\\nAIL Order, order.\\nPrecise, Mr. Strongfist.\\nStrongfist, Well, you re a pretty set of sneaks over\\nthere, you are.\\nAll, Order, order.\\nStrongfist, O, I know what I m about. I d like to\\nget in among you. I believe in justice. I believe in\\nany man s having his say in this world but I don t\\nbelieve in arguing about a matter that s as plain as the", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0184.jp2"}, "185": {"fulltext": "GENTLEMEN OF THE JURY. 179\\nnose on your face. The man made gunpowder, and\\nsold it, didn t pay the tax, and you fellows over there\\nknow it. You re a set of obstinate fools and it s the\\nduty of all loyal citizens to stand by the government and\\npunish traitors. The government s been insulted by this\\ncontemptible Popgun, and you fellows on the left uphold\\nhim. Our duty is clear, to bring you to your senses.\\n(^TaJces off coat.) So, come on. (Squares off,)\\nO Bourke. I m wid yez. Fag a ballah Erin come\\nunim.\\nAIL Order, order.\\nPrecise, Gentlemen, peace, I pray. Mr. Strongfist,\\nyour argument is very weak.\\nStrongfist, Is it? Well, my fist is strong; let me\\ntry that.\\nPrecise, No, sir you will please be seated. Mr.\\nPaunch.\\nSnoivhall (shaking him). Here, Mr. Punch, Mn\\nPimch.\\nPaunch, Hey? O, yes. Mr. Foreman, Pve got\\nprecious little to say. I m hungry I ve had nothing to\\neat since morning. I was invited out to dinner at five\\no clock with Alderman Cross. Fine leg of venison and\\nnative tomatoes, sliced, stewed, and broiled. The alder-\\nman is a capital eater, weighs three hundred and fifty,\\nand has the best hogs\\nPrecise. Won t you confine yourself to the question,\\nMr. Paunch\\nPaunch, O, yes. Hogshead of Madeira you ever\\ntasted. It s capital. Then his cheeses Good gra-\\ncious they re mighty", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0185.jp2"}, "186": {"fulltext": "180 GENTLEMEN OF THE JURY.*\\nPrecise, Mr. Paunch, Mr. Paunch\\nPaunch. The/re mighty fine. What did yoa sajr,\\nsir?\\nPrecise, Will you give your reasons for voting Not\\nguilty\\nPaunch, Certainly. Stop. Did I vote Not guilty\\nI don t remember. It don t make any difference. Settle\\nit as you please, only remember I must dine with Alder-\\nman Cross at five. (^Sits and goes to sleep again.)\\nSnowhall. Question, question We ll all dine with\\nCross, hey I ax you.\\nPrecise, Mr. Slow, you next.\\nSlow, Hey? Yes. Well, I don t know. Popgun\\ndid make gunpowder, I guess, cause he had a little shop.\\n{Pauses,)\\nPrecise, Well, go on, Mr. Slow.\\nSlow. Yes. Well, he had a little shop. Popgun had,\\nand he made somethin in that shop and if he didn t\\nmake gunpowder, he made somethin in that little shop\\nthat he didn t pay no tax onto. And so he s guilty er\\nsomethin or other in that little shop. So long s he s\\ncaught, what s the odds, as long as you re happy. {Sits,)\\nSnowhall, Doubted, doubted.\\nAll. Order.\\nPrecise. Mr. Blower.\\nBloiuer (rises flourishes his handkerchief, blows hisnose^\\nstrikes an attitude), M-r-r-r-r. Foreman, and genteelmen\\nof the jury, it is with spontaneous emotion that I rise to\\naddress you. You, genteelmen, with me, have looked\\nupon a touching scene to-day. We have seen an enlight-\\nened citizen of this great republic, which, like the light", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0186.jp2"}, "187": {"fulltext": "GENTLEMEN OF THE JURY. 181\\nof yonder firmament, attracts the attention of the whole\\nworld. We have seen him dragged from the bosom of\\nhis family and placed at the bar, at the bar, gentlemen,\\nthere to answer to grave and serious charges. It is evi-\\ndent that in the mysterious depths of that little back shop\\nsomething has been concocted. The government says\\nPowder the defendant says Shot. Powder and\\nshot! Powder or shot, in this case. One pos-\\nsesses the power to blow The human frame into infinites-\\nimal particles the other cures all ills that flesh is heir\\nto. Can we pause and deliberate Look at that man,\\ndragged from the bosom of his family his wife and chil-\\ndren\\nJolly. Beg your pardon, Blower. Popgun is single.\\nBlower. Hey? Dragged from the paternal mansion.\\nHear the cry of the agonized and aged mother of the\\nprisoner, as she stands upon the doorstep and screams,\\nMy child Bring back my little Popgun I\\nJolly. Wrong again. Blower. He s neither father\\nnor mother.\\nBlower. Hey Poor orphan without a friend in\\nthe world Can we turn our backs upon him No.\\nLet us be merciful. Let us indorse his patent medicine,\\nand carry from this room a verdict of Not guilty. Then\\nshall the tears of the orphan be squelched in gratitude,\\nand the blessings of future generations of Popguns fol-\\nbw us.\\nO Rourhe. Begorra, that s a teching appeal.\\nPrecise. Now, Mr. O Rourke, your turn.\\nO Eourhe {rising), I ax yer pardon, judge, Mr. Fore-\\nman, and gintlemen all. Wid the blood of forty ginera-", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0187.jp2"}, "188": {"fulltext": "182 GENTLEMEN OF THE JURY.\\ndons of O Rourkes a seethin with patriotic emotion in\\nme bosom, d ye mind with faylings of gratitude for the\\nfray gifts of life, liberty, and the pursuit of happiness,\\nguaranteed by this moighty republic, which, as I look\\nback into the future, is iver prisint in all its glory, d ye\\nmind. Could I be so base as to dash myself foreninst\\nthose illigant laws that crush the wake and guard the\\nstrong? By the grane sod of ould Ireland, niver If\\nthat thaif of the wurld. Popgun, has transgressed the\\nlaw, let him swing. And what for w^ould he be mixing\\nsaltpatre and and and brimstone, and and char-\\ncoal, if not to blow up somebody. Medicine, is it? It s\\nmy opinion that we d better bring in a verdict of Guilty,\\nand hang him, wid a recommendation to mercy, pro-\\nvided forty doses of his Medical Dead Shot bring him\\nto life afther he s been dead and buried siven days,\\nThim s my verdict, judge. {Sits,)\\nJolly, That s a reviving verdict.\\nPrecise. Mr. Punster.\\nPunster (rising). Mr. Foreman, and gentlemen of\\nthe jury, the party popularly known in this suit as Pop-\\ngun is a small affair, but I do not wonder that he kicks\\nagainst this attempt of the government to charge him\\nwith powder he never made. How would you like it\\nyourselves, gentlemen? Imagine yourselves Popguns,\\nand happy in the disposing of butter, cheese, and and\\nhairpins to a needy community. Upon a luckless occa-\\nsion, you sell ten cents worth of powder to a red-headed\\nurchin on the eve of our glorious independence. The\\nawful crime is repeated and, by the power of govern-\\nment, you innocent Popguns are incarcerated on a grave", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0188.jp2"}, "189": {"fulltext": "GENTLEMEN OF THE JURY. 183\\ncharge. You hear nothing but powder you are loaded\\nwith reproaches and powder it is rammed down your\\nthroats, until, like Popgun, you burst with indignation.\\nHave we not heard from the lips of competent wit\\nnesses the amazing power of his Dead Shot? An old\\nman had suffered forty years with influenza the Dead\\nShot stopped it forever. An old lady, bent double with\\nthe rheumatism, was made straight by its power.. A\\nyoung mother, whose tender infant had wailed night\\nafter night, was loud in its praises. Gentlemen, this\\nsuit comes from the malice and jealousy of an envious\\nrival. Gentlemen, this is a conspiracy. Let us clear\\nPopgun of the charges under which he labors, by ap-\\nplying the match of justice to his overloaded soul.\\nThen will he go off triumphantly, scattering destruction\\namong his enemies, and give a good report of our de-\\nliberations. (Sits,)\\nSnowball (jumping up). See here, white folks, what s\\nde use what s de use\\nPrecise, Mr. Snowball, you re out of order.\\nAll, Go on, Snowball. Fire away.\\nSnowhalL Mr. Foreman and gemblem. Of course\\nit am. Why not And, if not, wherefore I ax you.\\nIf de blessed Constitution of dese ere United States ob\\nAmerica don t permit the humblest of her sex to choose\\nde proper medicines for dar physical systems, wedder it\\nbe gunpowder or gunpowder tea, what s de use ob bein\\ncitizens and citizenesses of dese here republic? I ax you.\\nWho s Popgun? Am he, or am he not, a phusician?\\nI ax you. I don t cave what his moral perquisites be,\\nwedder he vote de demicratic or de bobolitioii. Does", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0189.jp2"}, "190": {"fulltext": "184 GENTLEMEN OF THE JURY.\\nhe care de squills which air am flesh to? I ax you.\\nWhen dat ar old man, which my white brudder alluded\\nto, had de influendways, did he stop his sneezin? I ax\\nyou. When dat ar old woman hobble to him wid de\\nrheumatics, did he straighten her out? I ax you. When\\ndat ar baby squaked in its slumbers of midnight, did\\nPopgun s Dead Shot fix it? I ax you. If so, and you\\nfind it so, and I ax you to find it so, you are forced\\nto acquit Popgun as a medical dedical sturgen and phu-\\nsician ob course you am for don de stolid phalanx\\nof justice circumbend every man on Columbia s footstool,\\nwedder black or white, male or female? and de aurora\\nborealistic splendors of eternal vigilance abide in de\\nscrutinized recesses of de enlightened jury-room? I ax\\nyou.\\nO^BourJce. Begorra send for an interpreter.\\nPrecise. Mr. Short.\\nSJiort {comes down to table). It s my opinion, gentle-\\nmen, there s been a great deal of time and gas wasted in\\nour deliberations. I ve got very few words to say on\\nthis subject. Popgun manufactured an article which the\\ngovernment said was gunpowder. Popgun denies it.\\nThat is the question for us to decide. We were shown\\nin the court-room a sample of this disputed article. It\\nlooked like gunpowder it smelt like gunpowder it feU\\nlike gunpowder. I took away the box. Here it is.\\n(Prodaces box,) Some of you think it is not gunpowder.\\nI propose to give it a practical test. (^Places box on table^\\ntakes off cover takes a match out of his pocket.)\\nTimorous, What You re not going to fire it off I\\nShort, Don t be alarmed. There s only a pound ox\\ntwo. It can t do much damage.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0190.jp2"}, "191": {"fulltext": "GENTLEMEN OF THE JURY. 186\\nSirongfist. You ll blow us all up\\nJolly. The man s crazy.\\nO^Rourhe. Begorra, there Aisj wid yer pranks.\\nAll. Stop him! Stop him!\\nShort, Here she goes. (Draws match across table.)\\nAll. Help! Murder! Officer! Put him out, c.\\n(Timorous crawls under table; Snowball jumps up into\\nchair and makes frantic attempts to crawl up the icall\\nDoubtful runs into corner^ pulls Paunch up to cover\\nhim Blower gets down and covers himself with a chair\\nPrecise stops his ears, and crouches in a corner Strono\\nfist and Punster seize Short, one on each side\\nO RouRKE seizes Short by coat-tail behind Jolly and\\nSlow try to get behind each other,)\\nPrecise. Would you murder us\\nStrongfist. Blow us to pieces?\\nO^Bourke. Call in the judge.\\nShort. Let me go, I tell you. {Kicks O RouRKE,\\nstrikes Precise and Strongfist, and sends them to the\\nfloor.)\\nO Eourke. I m kilt intirely.\\nAll. Help! Murder! Help!\\nShort {holding the match). Now, gentlemen of the\\njury, here is a convincing test. Shall I apply it, or are\\nyou ready with a verdict?\\nAIL No. Yes. Verdict. Verdict.\\nShort. Gentlemen, what is your verdict, guilty or not\\nguilty\\nAll. Guilty.\\nShort. All right. Mr. Foreman, make out your\\npapers. (Blows out match. All resume seats.)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0191.jp2"}, "192": {"fulltext": "186 GENTLEMEN OF THE JURY.\\nTimorous, Well, I never had such a scare in all my\\nlife.\\nO Rourhe, Bj me soul I I say a wake a comin for\\nthe last of the O Rourkes.\\nSnowball, By golly, I m all ob a hot chill in my back-\\nbone.\\nPrecise (who has been writing). Gentlemen, listen to\\nyour verdict* We find the defendant, Peleg Popgun,\\nguilty.\\nJolly^ So say we, all of us;\\nAIL Ay. Ay.\\nShort, Then there s no further use for this box of saw-\\ndust, I suppose.\\nAIL Sawdust\\nShort, Exactly. You thought twas gunpowd^^-\\nN6 matter* I saw I could throw dust in your eye?\\nit\u00c2\u00bb I can t say much for your argument. You r^\\nall the rest of this universal Yankee nation anxioii?\\nfasten your tongue tackle on to every question. There*\\nvery plain case here, which might have been a very\\nknotty one but for the sawdust^ which has brought you\\nto terms, and thus proved a better medicine than Pop-\\ngun^s celebrated Dead Shoti\\nCUETAINi", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0192.jp2"}, "193": {"fulltext": "THE SEVEN AGES.\\nA TABLEAU ENTERTAINMENT.\\n\\\\_Arrangement for Home Representation, Across the middle\\nof the longest room in the house stretch curtains to separate in\\nthe middle and draw apart. You thus have a room for audience\\nand a stage for performers. The stage should be divided in like\\nmanner by curtains to separate in the middle, giving a stage in\\nfront for performers, behind for tableaux. The rear or tableau\\nstage should be draped with dark cloth (purple is best) there\\nshould be entrances on both sides, that the characters in the\\ntableaux may pass on and off without being seen. Should two\\nrooms with folding-doors between be used, the curtains between\\nthe audience and the stage can be dispensed with and the doors\\nused instead.\\nThe performers are directed as though standing on the stage\\nfacing the audience, r means Right, l Left, c Centre.]\\nSPEAKING CHARACTERS.\\nPaul Perplex, an Artist.\\nPact, a Stubborn Thing.\\nPancy, the Artist s Pet.\\nReason, the Calm-Eyed.\\nThe Nurse, the Schoolboy, the Lover, the Soldieb,\\nthe Pather, the Justice, the Patriarch.\\n187", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0193.jp2"}, "194": {"fulltext": "188 THE SEVEN AGES.\\nCOSTUMES.\\nPaul. Dressing-gown or velvet jacket, smoking-cap, white\\npants, slippers.\\nFact. Long brown robe, fastened at the waist with a rope, iron-\\ngray wig, full bea^d.\\nFancy. Female, gay dress, bright ribbons, floating hair.\\nReason. Female, plain white dress, floating hair.\\nThe Nurse. Calico dress and cap.\\nThe Schoolboy. Roundabout jacket, short pants, white stock-\\nings, rolling collar and cap.\\nThe Lover. Light pants, black velvet coat, wide collar spread\\nover coat-collar, long black hair, black mustache.\\nThe Soldier. Military uniform red coat, blae pants with gilt\\nstripes, sash, and sheathed sword at side.\\nThe Father. Blue coat with brass buttons, dark pants, white\\nvest, white necktie, gray wig, gray side-whiskers.\\nThe Justice (corpulent). Brown coat, breeches and top-boots,\\nfigured waistcoat, cane.\\nThe Patriarch. Dressing-gown, nankeen pants, slippers, white\\nwaistcoat, long white hair, wrinkled face.\\nPART I.\\nPROLOGUE.\\n[Acted on the stage nearest the audience, front of the second\\nset of curtains which are closed.]\\nScene. The painter s studio, Easel^ b..^ with canvas\\non it, Paul seated in front of it^ with pallet and brush\\nin hand,\\nPaul. Mysterious canvas, on thy ghastly face,\\nMy trembling pencil fails to leave a trace.\\nBehind thee lie rich treasures of delight,\\nWaiting the mystic touch to charm the sight,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0194.jp2"}, "195": {"fulltext": "THE SEVEN AGES.\\n189", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0195.jp2"}, "196": {"fulltext": "190 THE SEVEN AGES.\\nWaiting the master-hand to break the seal\\nAnd loose the beauties which thou dost conceal.\\nIn vain I seek thy stubborn guard to break,\\nIn vain I pray thy tenants to forsake\\nTheir prison cells, and with a generous glow.\\nOn a poor artist their sweet smiles bestow.\\nAlas All vain aloof they flickering stand,\\nMocking the weakness of my unskilled hand.\\nfor some mighty power to break the chain,\\nTo tear the veil, and give my fancy rein\\nEnter Fancy, r.\\nFancy, Here at your call, my master.\\nPaul (rises). Do I dream?\\nFancy. Perhaps no matter, it doth really seem\\nBy your remarks that some one s wanted here.\\nSo I ve dropped in to oflfer you my aid.\\nMy name is Fancy.\\nPaul, Dear delightful maid,\\nWelcome, thrice welcome Thy bewitching face\\nWith rays of glory fills this gloomy place.\\nFancy. That s very pretty, rays of glory. Fine\\nYoung man, you are a follower of mine\\n1 read it in those dreamy eyes, that wavy hair,\\nThat sighing bosom, and that languid air.\\nHow can I serve you? Speak, and you shall find\\nFancy a mistress bountiful and kind.\\nPaul. O gracious mistress, I would win a name,\\nI long for glory, and I sigh for fame.\\nUpon the canvas tis my fond desire\\nTo fasten beauty, homage to inspire.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0196.jp2"}, "197": {"fulltext": "THE SEVEN AGES.\\n191", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0197.jp2"}, "198": {"fulltext": "192 THE SEVEN AGES.\\nAlas my hand is weak I strive in vain\\nThe dancing, flickering shadows to enchain.\\nFancy, Then come with me my realm is beauty s\\nhome\\nThere all unchecked the master spirits roam,\\nGather bright laurels from the rainbow mints,\\nThat color-freighted pour the choicest tint\u00c2\u00a7.\\nCome, revel in my fleecy, cloudland bower\\nThere may be found the talisman of power.\\nPaul, Bright seraph, I am thine or near or far,\\nI ll follow, follow thee forever\\nEnter Fact, l.\\nFact. Bah\\nHumbug Ne er listen to the wily maid.\\nVanishing vapors make her stock in trade\\nThere s naught substantial in the realm she rules,\\nShadows and moonshine are the toys of fools.\\nTurn back with me and deal in stubborn facts\\nStern hardy life s the loadstone that attracts\\nThe master spirits of the brush and pen,\\nWho reap bright laurels by portraying men.\\nPaul, And who are you your garb is very queer,\\nYour features rugged, and your speech severe.\\nFact, Men call me Fact.\\nFancy, He is a stubborn thing.\\nWith neither taste nor beauty, quick to fling\\nHis gloomy mantle over Fancy s play,\\nAnd with the cry of Duty bear away\\nHer choicest spirits. Fie upon thee, knave\\nBase and ignoble! thou art Labor s slave.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0198.jp2"}, "199": {"fulltext": "THE SEVEN AGES.\\n193\\nore\\nr S^ H\\nP 3*\\n2.\\ni i\\nP I\\nt s: P\\nft) o\\nffi\\ncr* to\\no g. p r\\n\u00c2\u00a3t r+ S- H\\nO O OD 5\\nO CD 2\\naa O\\n2,^ o t^\\np* s:\\nOOP*\\ne* fO\\n\u00c2\u00abr- OS S,\\n2\\nJO\\n00 fD\\nI?\\nS\\n(B\\nS*\\n2 2^\\nff o\\ni-\\nS5 S\\nno V\\n13", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0199.jp2"}, "200": {"fulltext": "194 THE SEVEN AGES.\\nFact, Nay, neighbor Fancy, thine s a saucy air,\\nA biting tongue for one so debonair.\\nLabor s my master, that I free avow\\nThe lordly monarch of the forge and plough,\\nThe mighty builder and the broadcast sower,\\nWho rears and fashions with a matchless power.\\nPainter, to win a name, come, rove with me,\\nMid Labor s subjects on the land and sea.\\nFancy, Nay, nay, forbear the path is rough to\\ntread,\\nFact s pictures are with ugliness o erspread\\nThe sweating, delving busy life of care\\nCan show thee nothing fanciful or fair.\\nFact, Twill show thee duty with its aims and ends,\\nWherein much gloom with genial brightness blends.\\nIf thou be wise, let Fancy cloudward go\\nShe s but a meteor, out of place, below.\\nFancy, Well, you re polite.\\nFact, Thank you.\\nPaul, No more\\nOn my account ne er quarrel I implore.\\nI thank you both for the expressed desire\\nWith power my lagging pencil to inspire.\\nYou, Fancy, point me to a fairy wold\\nYou, Fact, a stronger, sterner realm unfold\\nNow which to choose, I m very much in doubt.\\nEnter Reason, c. {between curtains).\\nReason, Well, my good friend, I ve come to let you\\nout.\\nPaul. Another stranger.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0200.jp2"}, "201": {"fulltext": "THE SEVEN AGES.\\n195\\nis:\\n(0 a o\\na e^\\n=r\\nO g P\\ncr Cf\\nS3 5*\\ns S\\nP P OQ\\nS\\nO* O\\nw S\\no\\nc p\\nS i^ t^\\nc o\\nr*- no\\nri, O C\\nrt- r\\nI i\\n^5.\\no\\n2 P\\nre tf\\nP-", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0201.jp2"}, "202": {"fulltext": "196 THE SEVEN AGES.\\nFact Ah, good neighbor Reason,\\nYou re always near.\\nFancy, She s never out of season,\\nAnd always welcome let her wise decree\\nSettle the difference betwixt you and me.\\nPaul. Madam, your visit seems quite apropos.\\nWill it please you some good counsel to bestow\\nOq a poor artist, and for him decide\\nWhich, Fact or Fancy, he shall take as guide?\\nBeason, Why not take both I think, my paintei\\nfriend.\\nYou ll find that Fact and Fancy closely blend.\\nNo scene of beauty and no work of skill\\nBut needs them both perfection to iustil.\\nThe realm that Fancy pictures as divine\\nStern Fact can match with one as good and fine\\nIn fields that Fact obscures with smoke and steam,\\nFancy s embedded jewels brighter gleam.\\nBoth are your friends let them united serve,\\nAnd what they picture do you well observe.\\nNe er heed their quarrels, they but flirt and flout\\nThe very best of friends sometimes fall out.\\nSo set to work and clothe the form of Fact\\nIn Fancy s gayest raiment to attract.\\nThen will you tread the path that leads to fame.\\nAnd in its inmost temple carve your name.\\nCome, Fact, be stirring, let the painter gaze\\nOn healthful life in all its devious ways.\\nShakespeare, the foremost of poetic sages.\\nHas given to man a scale of seven ages\\nDisclose them to our fame-desiring friend,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0202.jp2"}, "203": {"fulltext": "THE SEVEN AGES.\\n197\\n1", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0203.jp2"}, "204": {"fulltext": "198 THE SEVEN AGES.\\nWith brightest hues that Fancy s art can lend.\\nTo gain his triumphs all your powers combine,\\nAnd let your hands his brow with laurel twine.\\nFad, She argues fairly.\\nFancy. Justly, to my mind.\\nI give consent.\\nFact. And I.\\nPaul. You re very kind.\\nI am your servant, lead me as you will\\nI long at Genius* fount to drink my fill.\\nReason. Then forward. Industry all thirst assuages.\\nTake your first lesson from the seven ages.\\n(Fact tahes Paul s right hand and points r. Fancy\\ntakes his left, Reason steps behind Paul, and points b\u00c2\u00ab\\nCurtain falls on picture.)\\nPART II.\\nTHE SEVEN AGES.\\nCurtain rises as before the first stage is bare^ the second\\ncurtains closed.\\nEnter the Nurse, with babe in her arms.\\nNurse. You d scarce expect one of his age\\nTo speak in public on the stage,\\nSo I suppose it s really very natteral\\nThat for his speech his Nuss should be collateral.\\nWell, he s an infant, bless his precious eyes\\n(Don t squirm so, deary, I ll keep off the flies),", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0204.jp2"}, "205": {"fulltext": "THE SEVEN AGES.\\n199", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0205.jp2"}, "206": {"fulltext": "200 THE SEVEN AGES.\\nA little cherub (Child cries.) Don t begin to squall,\\nYou never can deceive the dears at all\\nThey know they are not angels, because why?\\nAngels will never drop down from the sky\\nTo play at human babbies. Massy knows\\nWhen their first little game is pains and woes,\\nO deary me, I think they are a trial\\nDosing with catnip-tea and penny rial\\nAnd walking nights, now isn t it severe\\nOn us poor nurses who receive em here\\nThe cry is still they come, for all of that,\\nBouncers and pigmies, skeleton and fat.\\nOne half survive, the rest are taken off\\nBy measles, chicken-pox, and whooping-cough.\\nYet bless em, how we love em (Child cries,) Don t\\nyou cry,\\nHe s stuck his big fist in his little eye.\\nNow say good night. (Child cries,) His speech is\\nsaid.\\nExit to put him in his little bed. [^Exit, R.\\n(Music ^Hush^ my hahe, lie still and slumber Piano.\\nCurtains at hach open^ disclosing Tableau I. The\\ncurtains should be open time enough to count, modev\\nately, fifteen, then closed slowly. Music continues till\\nfall of curtain,)\\nEnter the Schqol-boy, l.\\nSchool-boy. To school, or not to school, on time, or\\nlate.\\nWe boys oft find a question for debate.\\nStudy is irksome, good beh^ivior a stiff,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0206.jp2"}, "207": {"fulltext": "THE SEVEN AGES.\\n201", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0207.jp2"}, "208": {"fulltext": "202 THE SEVEN AGES,\\nAnd old Dame Learning s often in a miff;\\nTwixt marks and merits wavering and fickle,\\nShe sternly rules us with a rod in pickle,\\nImpresses strong her lessons on our backs,\\nWelted with energy and sealed with whacks.\\nBoys will be boys, we hear the old folks say.\\nIf they speak true, why rob us of our play\\nFor Where s the boy, except he be a fool.\\nWho, of his choice, would ever go to school?\\nHis brains to crush neath heaps of Roman dust,\\nAll that remains of that great empire bust\\nTo choke and struggle with ill-fated Greece,\\nIn vain attempt to conquer e en a peace.\\nWhen sport and exercise their strong arms bare,\\nAnd woo him to the water and the air.\\nThe light boat waits impatient on the tide,\\nGreen fields their carpets spread on every side.\\nBroad oaks their shadows fling across his way,\\nThe ball and bat are eager for the play.\\nThe free air thrills him naught can hold him back,\\nExcept the haunting fear of Hooking Jack,\\nAnd something better, born of ancient lore,\\nThe path to fame lies through the school-house door.\\n[^Exit^ R.\\n{Music, Curtains at hack open^ disclosing Tableau II.\\nAfter Tableau IL has been shown the usual time^ a bell\\nshould be struck, when, without the curtain being dropped,\\nthe characters instantly change positions to Tableau III*\\nChange, at stroke of bell, to Tableau IV,)", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0208.jp2"}, "209": {"fulltext": "THE SEVEN AGES.\\n203", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0209.jp2"}, "210": {"fulltext": "204 THE SEVEN AGES.\\nAt the fall of the curtain^ enter l., the Lover. He spealcs\\nand gesticulates in a burlesque^ lackadaisical manner.\\nHeigh-ho heigh-ho Ah me good gracious\\nCupid doth feed with appetite voracious\\nUpon my bleeding heart. O Blousabelle,\\nYour sparkling eyes enslave me with a spell.\\nI am enraptured with your beauteous face\\nEnthralled, bewitched, by your enchanting grace.\\nO darling Blousa honey-drop of sweetness I\\nPink of perfection violet of neatness\\nWould I could press thee to this manly breast\\nSoft-pillowed there thy golden curls to rest,\\nThy tender form to guard forevermore,\\nDevouring words within thy ears to pour,\\nTo make this dull earth bloom like paradise.\\nHeigh-ho ah me now wouldn t it be nice\\nOver a picture of successful love\\nMy longing eyes too oft delighted rove,\\nLet me rehearse for your amusement here\\nHow Zekiel wooed and won his Hulda dear.\\n{Recitation of LowelVs poem^ The Gourtin\\\\ Exit\\nLover, r. Lively music. Curtains at bach openj dis^\\nclosing Tableau V, After the usual time^ strike the bell^\\nand the characters change positions to Tableau VI, At\\nsound of bell change to Tableau VIL Curtain falls.\\nEnter Soldier, l.\\nSoldier, When Peace, the olive-crowned, with ashen\\nface,\\nForsakes her throne, and to grim War gives place", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0210.jp2"}, "211": {"fulltext": "THE SEVKN AGES.\\n205", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0211.jp2"}, "212": {"fulltext": "^06 THE SEVEN AGES.\\nWhen Treason stalks abroad, when Riot roars.\\nWhen Crime grows rampant, and Rebellion soars,\\nThe Soldier, armed and mailed with martial power,\\nStands forth the master-spiritof the hour.\\nThe loud drum thrills him w^ith its wild alarms,\\nThe clash of steel his manly bosom warms,\\nThe whirr of bullets and the cannon s roar\\nMake the hot blood in quicker currents pour.\\nTill, filled from crown to toe with bloody zeal,\\nNo foeman can resist his crushing heel.\\nUp on the ramparts, where with fierce assail\\nAnd deadly purpose, ploughs the iron hail\\nDown in the pit where ambush lieth low,\\nFearless, defiant, leaps he on the foe.\\nSo brave, so^valiant. Glory doth delight\\nTo wreathe his brow with laurels green and bright.\\nBut when across the field of Labor s life\\nPeals the loud trump, dread harbinger of strife\\nWhen through the workshop, busy marts of trade,\\nThrough student s study, neath the classics shade,\\nThrough fashion s halls, where folly rules the hour,\\nThrough homes that cherish love s domestic power,\\nSounds the shrill notes that wake the hearts of all\\nTo hurry forward at their country s call,\\nSternly as Patriot he doth nobly stand\\nAgainst all foes to guard his native land.\\nA nation s gratitude, with smiles and tears.\\nFreshens his memory all the coming years\\nAnd grand old Freedom, midst her brightest joys,\\nPoints proudly to her gallant soldier boys.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0212.jp2"}, "213": {"fulltext": "THE SEVEN AGES.\\n207\\no a\\nso\\nV- OB\\n5 5-\\n12. S\\no j_,\\ntf S cl\\n\u00e2\u0080\u00a2C M\\nQC 3*\\nO X\\nS.\\na\\no\\no\\n|-5\\nII", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0213.jp2"}, "214": {"fulltext": "208 THE SEVEN AGES.\\n(^Curtains at hack are drawn, disclosing Tableau VIII.\\nDo not follow strictly the ^positions in the drawing, hut\\nmake the picture animated and striking. Music should\\nhe of a martial character. Curtain falls,)\\nEnter the Father, l.\\nFather, And what s a father? Some say an old\\nfellow\\nWith hair turned gray, and features turning yellow,\\nFull of his aches and pains, a queer old chap\\nFor whom his family don t care a rap,\\nSave that he pays the bills, keeps out of sight,\\nAnd locks the house up carefully at night.\\nSome say a tyrant, ruling with a sneer,\\nAll frowns and wrinkles, with a voice severe\\nFor youthful follies, and a stinging snap\\nWhen pealing laughter robs him of his nap.\\nAnd some say bless them he s earth s paragon.\\nThe kindest mortal that the sun shines on\\nFor all our woes, the ever-ready friend,\\nWith kindly heart, to cheer and comfort lend.\\nOf all our joys, so ready e er to share,\\nWarmed by his smile, they seem more bright and fair.\\nOn all our secrets locks the trusty door.\\nAnd proves himself a confidant secure\\nFor all our follies, eager to advise.\\nLenient, forgiving, generous, and wise.\\nHalf-way betwixt the cradle and the grave.\\nWashed by a sea of troubles, wave on wave,\\nThe father takes his place, a beacon-light\\nTo guide the wayward bark of youth aright.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0214.jp2"}, "215": {"fulltext": "THE SEVEN AGES.\\n209\\n14", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0215.jp2"}, "216": {"fulltext": "210 THE SEVEN AGES.\\nThe fierce and angry winds of strife may roar,\\nMisfortune s sullen clouds may hover o er,\\nYet through the darkest night of fear and woe,\\nThe light of love, with calm and steady glow,\\nFlashes upon the tossed and sin-opprest,\\nA talismanic harbinger of rest.\\nHonor the father History s bright page\\nRecords his sacrifice in every age.\\nTurn backward to the ancient Koman days,\\nWhen stern Virginius did the world amaze.\\nWhen wicked Appius vik and crafty knave\\nThe fair Virginia sought to make his slave,\\nThe noble father, with his cruel knife,\\nHer honor saved at cost of her dear life\\nLook on this picture, let its teachings prove\\nFathers can slay as well as save for love. \\\\_Exttj B.\\n(^Sad music. Curtains open^ disclosing Tableau IX,\\nCurtain falls.)\\nEnter the Justice, l.\\nJustice, Well, what s the matter? Burglary or theft?\\nWhy am I rudely of my rest bereft\\nWhose hencoop s plundered? Hey? whose ducks and\\ngeese\\nHave sloped with some despoiler of the peace?\\nWhat murderous youngster has been breaking bones.\\nOr smashing windows with obdurate stones?\\nHoy? No complaint? well, this is very queer;\\ni iiK)ij_iiJi i heard a call for Justice here,\\nAnd I m that high, official dignitary,\\nLearned, pompostuous^ disciplined, and wary,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0216.jp2"}, "217": {"fulltext": "THE SEVEN AGES.\\n211\\nj*\\n33 s", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0217.jp2"}, "218": {"fulltext": "212 THE SEVEN AGES.\\nWhose frown doth terrify the sneaking scamp\\nWith dreams of iron bars and dungeons damp.\\nAhem the squeak of law is in my tread\\nFrom off my path wild urchins slink with dread\\nThe biggest blackguard of a saucy crew\\nShuts fast his mouth whene er I come in view\\nThe straight-laced deacon with his stiffened back,\\nThe learned doctor, the successful quack,\\nThe gifted parson, and the man of wealth,\\nAdmiring glances cast at me by stealth,\\nBecause I hold the scales that win or lose,\\nAnd make them bend whichever way I choose,\\nThat is of course by interlectual sway.\\nI m always right, the scales the right obey,\\nAnd so I m ready to enforce the laws,\\nAnd find a verdict in a righteous cause.\\nProvided that the culprit is not rich,\\nFor in that case my fingers always itch\\nTo place across the bridge of this wise nose\\nA pair of spectacles with golden bows. [Exit^ R.\\n{Music, Curtains open, disclosing Tableau X, Curtain\\nfalls.)\\nEnter the Patriarch, l.\\nPatriarch, Last scene of all, which ends this strange\\neventful history,\\nIs second childishness, and mere oblivion.\\nNay, nay, good master Shakespeare, thou art wrong.\\nFor richest joys around the aged throng.\\nUpon the record of ascending years,\\nOft flecked with sunshine, blotted oft with tears,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0218.jp2"}, "219": {"fulltext": "THE SEVEN AGES. 213\\nWhere cau be found so kind and true a friend\\nAs keen-eyed Memory, who doth freely lend\\nUnto the seventh age her matchless power,\\nTo deck and glorify the sunset hour\\nUpon the patriarch she doth free bestow\\nHer brightest jewels plucked from long ago\\nPleasures of youth, deep buried in the past,\\nWakened to life, come merrily trooping past\\nTriumphs of manhood, with new laurels crowned.\\nAnd prouder bearing, thickly gather round.\\nThe babe, the youth, the lover, soldier, sage,\\nEach in his time displays again his age\\nEach at the summons will repeat his part,\\nAnd all are welcome to the old man s heart.\\nWhat scene of happiness so pure and bright\\nAs home, sweet home, the temple of delight.\\nWherein the patriarch as an honored guest\\nBeloved, respected, finds a welcome rest.\\nUntil the Master s messenger of peace\\nShall bid life s sentinel his watch to cease\\nThen ends the journey, then earth s race is run,\\nThen the eternal age is entered on. \\\\_EQ^it, R.\\n{Music^ Home^ sweet SomeJ Curtain opens, disclosing\\nTableau XL Bell strikes, and change to Tableau\\nXIL Music sad and soft until the curtain falls.\\nCURTAIN.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0219.jp2"}, "220": {"fulltext": "", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0220.jp2"}, "221": {"fulltext": "THE BOSTON DIP-\\nA COMEDIETTA, IN ONE ACT.\\nCHARACTERS.\\nMr. Moses Mulligrub, once Proprietor of a\\nFish- cart, now a rich Speculator.\\nMonsieur Adonis, a Dancing-Master.\\nMr. Richard Dasher, a Fast Man.\\nMr. Lavender Kids, an Exquisite.\\nMrs. Moses Mulligrub.\\nMiss Ida Mulligrub.\\nMiss Eva Mulligrub.\\nCOSTUMES.\\nFull Evening Dress.\\nScene. Handsome draiving room in Monsiectr Adonis s\\nAcademy, Entrances r., l., and c. Lounges^ R. and\\nL. Screen^ l. corner^ hack. Two chairs^ R. and L. of\\ndoor in flat,\\n215", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0221.jp2"}, "222": {"fulltext": "216 THE BOSTON DIP.\\nMusic^ as curtain rises, Strauses waltz, Beautiful Blue\\nDanube. Miss Ida and Miss Eva discovered waltz-\\ning, introducing The Boston Dlp.^* TJiey waltz a few\\nmoments, then stop. Music ceases,\\nIda. Now, isn t that delightful\\nUva, Delightful It s positively bewitching. Bless\\nthat dear Monsieur Adonis. He deserves a crown of\\nroses for introducing to his assembly the latest Terpsi-\\nchorean novelty. O, we shall have a splendid time to-\\nnight\\nIda. Especially as those charming waltzers, Messrs.\\nRichard Dasher and Lavender Kids, the glass of\\nfashion and the mould of form, are to honor us with\\ntheir presence.\\nEva. Yes, indeed. What would the dance be without\\nthem\\nIda. Not worth the trouble of dressing. But don t\\nyou think that Mr. Dasher is a little too attentive to Miss\\nEva Mulligrub, eh, sister?\\nUva. Not more attentive, certainly, thaa is Mr. Laven-\\nder Kids to her charming sister, Miss Ida Mulligrub.\\nEh, sister?\\nIda. But seriously, Eva, I begin to think that you\\nare carrying this matter a little too far. Mr. Dasher\\nmight reasonably expect, from the partiality you unhesi-\\ntatingly show for his society, and the smiles you bestow\\nupon him, to be considered your lover.\\nEva, You begin to think. Why, bless you, Ida, I ve\\nthought and thought and thought, for a long time, that", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0222.jp2"}, "223": {"fulltext": "THE BOSTON DIP. 217\\nwere I Mr. Lavender Kids, I should pop the question at\\nonce, so undeniably entranced are you by his attentions.\\nIda. Eva\\nEva. Ida\\nIda. You re talking nonsense.\\nEva. Well, you began it.\\nIda. But you know you like Mr. Dasher.\\nEva. To be sure I do. He s the best waltzer in the\\ncity. Graceful, agreeable, and decidedly good-looking.\\nIda. And you would marry him\\nEva. Not unless he asked me, and then\\nIda. And then\\nEva. I should remember that he is considered a for-\\ntune-hunter, that he is too fond of horses, that possibly\\nhe might have an eye on father s bank-book, that I don t\\nwan^ such a husband, and should very sweetly, calmly,\\nbut decidedly say, No, thank you, Mr. Dasher.\\nIda. Exactly what I should say to IVIr. Kids, without\\nthe sweetness and calmness.\\nEva. I hope we shall not have the chance, for then,\\nof course, we should lose their society and they are\\nsuch superb waltzers.\\nIda. But what in the world could have possessed\\nmother to have us come so early. Hurry, girls, hurry\\nAnd here we are before the hall is lighted.\\nEva. I m sure I don t know. It s one of her whims.\\nOne would hardly think that, at her age, she would care\\nfor dancing.\\nIda. But she does. I caught her to-day attempting a\\nwaltz before the glass in her room and such work as she\\ndid make of it t", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0223.jp2"}, "224": {"fulltext": "218 THE BOSTON DIP.\\nEva. She s not very nimble with her weight of years\\nand flesh, but she would come to-night, and without\\nfather, too.\\nIda, Catch him in such a place No doubt he s\\nalready snoring at home in his easy-chair, speculating .d\\ncorner lots in his dreams.\\nUva. Better that than the old life, dragging a hand\\ncart through the streets, and shouting, Cod haddock\\nhalibut eel eel eel eels\\nIda. Why, Eva, don t speak of that and such a\\nnoise, too.\\nJEva. Who cares. Everybody knows what we onoe\\nwere, and I, for one, am not going to be ashamed of father s\\nold occupation. He has made money in an honest way\\nso let us have no false pride, Ida. Cod haddock hali-\\nbut eel eel eel eels\\nEnter Mrs. Mulligrub, c.\\nMrs, M. Well, I never Eva Mulligrub, I m blush-\\ning with shame, petrified with mortification, and stunned\\nwith grief, to hear such words as those proceeding from\\nyour lips. I never heard such language before, never.\\nEva, Why, mother And I ve heard father say those\\nvery words brought you to the window many a time\\nwhen he passed that they were the bait by which you\\nwere caught, and that you were the best catch he ever\\nmade.\\nMrs, M, Fiddle-de-de That s his twaddle. We ro\\nabove such language now. But come, girls, fix me up\\nI m all coming to pieces. Is that what s-its-name behind\\nall right, and this thingumbob on my neck, and the whai*", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0224.jp2"}, "225": {"fulltext": "THE BOSTON DIP. 219\\nyou-may-call-it on top of my head? Dear me, Fm all in\\na pucker.\\nIda. Everything about your dress is charming,\\nmother.\\nMrs. M. Well, Tm glad on t. Now girls, look here,\\nFve made an assignment with Munseer What s-his-name\\nto-night.\\nEva. A what?\\nIda. Assignment? You mean an appointment.\\nMrs. M. Well, it s all the same. I m going to learu\\nto do that dipper thing, if I die for it.\\nEva. I don t understand.\\nIda. She means The Boston Dip.\\nMrs. M. That s it w^here you go tipping about,\\nwhile the fiddlers play Struse s Beautiful Blue Dan-i*-by.\\nEva. You, mother, learn to waltz\\nMrs. M. And why not? There s Mrs. What s-her-\\nname gets through it, and she s older and heavier than I.\\nI m going to learn it. What s the use of having money\\nif you can t spin round like other folks. But don t say a\\nword to your father. Bless me, how he would roar But\\nhe s safe at home, snoozing in his chair by this time. I ve\\narranged it all. I ve engaged this drawing-room for my\\nown party, and when you re all dancing in the hall,\\nMunseer A A what s-his-name will slip in here, and\\npractice the waltz with me, and nobody w411 know any-\\nthing about it until I m deficient.\\nIda. Proficient, mother.\\nMrs. M. Well, what s the difference? It s all ar-\\n;anged. I m not going to make a fool of myself befor\u00c2\u00ab\\nfolks v^\\\\ien I can pay for private lessons.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0225.jp2"}, "226": {"fulltext": "220 THE BOSTON DIP\\nDasher appears^ c.\\nDasher (loud). Eureka!\\nMrs, M. {starting). Good gracious! Yon what?\\nDasher, Fortune favors the brave. Like Caesar,\\nI came, I saw, and I m overcome. May I come in?\\nMrs. M, Certainly, Mr. Dasher. Your presence always\\nadds a charm to our what s-its-name circular.\\nIda, Circle, mother.\\nMrs, M. Well, what s the odds?\\nDasher, Thank you, Mrs. Mulligrub. You are ar-\\nrayed like an empress Miss Ida, your costume is only\\neclipsed by your charming face Miss Eva\\nEva. Last but not least in our dear love, must of\\ncourse be divine so spare my blushes and your breath.\\n(Sits on lounge^ r.)\\nDasher. Thank you. And now congratulate me. I\\nthrew down my pen, after a hard fight with figures, to\\nseek the lonely recesses of my bachelor s quarters, hear-\\ntily sick of life, when it suddenly occurred to me that this\\nevening Monsieur Adonis gives one of his charming as-\\nsemblies. Perhaps, thought I, there I may find rest for\\nmy wQary brain from the figures of the ledger, which\\nare dancing in my head, in the figures of the dance. Bat\\ndid I dream of falling into such charming society No\\nmost emphatically and decidedly, no. Therefore, liiko\\nCassar\\nMrs. M. And pray, Mr. Dasher, who is this Caesar\\nyou re making such a fuss about\\nIda, Why, mother\\nMrs, M, La, child, there s nobody of that name I m\\nacquainted with.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0226.jp2"}, "227": {"fulltext": "THE BOSTON DIP 221\\nIda, You know, mother, Caesar was the great RoinaD\\ngeneral, who\\nMrs, 31, La, yes Mr. Dasher was only speaking\\nmetagorically. Cassar was the man who crossed he\\nwhat s-its-name, and was stabbed by a brute.\\nEva, Never mind Caesar. Here s my card, Mr.\\nDasher. Of course your name will be the first I shall\\nallow upon it.\\nDasher (sits on lounge beside Eva). Am I to be so\\nhighly honored. (Takes card.)\\nEva. For a waltz, and only one.\\nMrs, M, La, child, don t be so unscrupulous. You ll\\ndance till you drop if you get a chance.\\nIda, Hush, mother.\\nMrs, M, Now what s the matter with you? Mr.\\nWhat s-his-name will dance with you, too. Don t be so\\nanxious.\\nIda, 0, dear, was there ever such a torment. {Sits\\non lounge^ L.)\\nEnter Kids, c.\\nKids {with glass to his eye). Now, weally Have I\\nstumbled into the bodwaw of a bevy of enchanting god-\\ndesses have I, w^eally\\nIda. 0, Mr. Kids\\nEva, You have, weally, Mr. Kids.\\nDasher, Lavender, my boy, how are you?\\nKids. And will the divine goddesses permit me to\\nentaw, to disturb their tableawof beauty with my horwid\\nfiggaw?\\nEva. Yes, trot your horwid figgaw in, Mr. Kids.\\nMrs, M, Eva, I m astonished at such language as\\n\\\\hose. bli. Kids, we are delighted to see you.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0227.jp2"}, "228": {"fulltext": "222 THE BOSTON DIP.\\nIda. Yes, indeed, Mr. Kids. I ve kept mj card for\\nyou.\\nKids, Divine creachaw, you overpowaw me you do,\\nweally. (^Sits on lounge beside Ida, and takes her card.)\\nJust one w^altz?\\nEva. As niany as you please, Mr. Kids.\\nMrs. M. Now that s what I call generous. I won-\\nder where Mr. no, Munseer Adonis can be. {Re-\\ntires up.)\\nEva. Mr. Dasher, how can you tell such falsehoods,\\nwhen you know, that I know, that you know, we were to\\nbe here to-night.\\nDasher. What a knowing young lady. It s one of\\nthe frailties of masculine nature, Miss Eva. I m glad I\\nwas not George Washington, for I should certainly have\\nspoiled that hatchet story by a lie. Now I am here,\\ndear Miss Eva, overpowered with the burden of a\\nweighty secret, I am going to disclose it. I I\\nKids. I say, Dashaw, I ve had ray bwains surveyed\\nto-day.\\nDaslier. Have you? I didn t know you had any.\\nKids. Yaas, several. Destwuctiveness, combativeness,\\nidolitwy\\nDasher. Ideality.\\nKids. Yaas, it s vewry Avemarkable how those phwen-\\nological fellaws lay out your bwains, and name them just\\nlike aw stweets.\\nDasher {aside). They must have labeled some of\\nyours No Thoroughfare.\\nEva. O, don t talk about brains, Mr. Kids. The\\ndiscussion of such a subject might fly to your head.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0228.jp2"}, "229": {"fulltext": "THE BOSTON DIP. 223\\nDasher. And so light is the material there, cause a\\nccnfiagration.\\nKids. Yaas, yaas, like a Mansard woof. And, Dashaw,\\nI ve got a divvectorj of my bwains, and it s deucedly\\nelevaw for if an ideah gets into my b wains, I can trace\\nit out in the diwectory, and tell just where it lies, you\\nknow, and know just where to find it. Deuced elevaw.\\nDasher (aside). Twould die of starvation before you\\nfound it.\\nMrs, M. (comes down). Ah, here s Munseer Adonis\\nat last\\nEnter Monsieur Adonis, r.\\nMons. A. Charmant^ charmant^ leedies and gentimen,\\nI kees your hands. You do me proud. I feel ze glow\\nof satisfaction in ze inermost inside of zis bosom, when\\nyou do me ze grande honneur to grace my salon wiz your\\npresence. I feel ze glow all ovar.\\n3Irs. M. O, Munseer Adonis\\nEva. Politest of Frenchmen.\\nIda. Paragon of dancing-masters.\\nMons. A. Pardon me, cJiarmant medmoiselles and\\nadorable madam, if ze modest blush of shame paint my\\ncheek wiz ze hues of ze roses. I am ze humble instru-\\nment of ze divine art which gives ze grace to ze figure,\\nand ze airy lightness to ze beautiful toes of madam and\\nze charmant medmoiselles.\\nEva. Now, Munseer Adonis, we are all impatience.\\nWhen will the dance begin\\nMons, A. On ze instant. Ze company have assemble\\nin ze grande salon, \\\\Yhen madam and her friends make\\nze grande eatree, zen will ze music strike ze signal.\\nIda. We aie all ready.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0229.jp2"}, "230": {"fulltext": "224 THE BOSTON DIP.\\nMrs, 3L Mud seer Adonis, one word with you.\\nMons, A, Wiz ze uttermost pleasure. Am I not z\u00c2\u00ab\\nslave of ze matchless madam (aside) and her money,\\n{They retire up stage^ and converse.)\\nDasher, Miss Eva, I must have an interview with\\nyou this evening. I have much to say. Meet me here\\nin half an hour.\\nEva. Certainly. 1*11 slip away at the first opportu-\\nnity.\\nDasher. Thank you. The first dance is mine, you\\nremember.\\nKids, Aw, Miss Ida, I must speak with you alone I\\nmust, weally. There s something on my bwain no\\non my bweast, that must be welieved. Don t go. Stay\\nbehind with me.\\nIda, And lose the first dance No, indeed.\\nKids, Weally, I couldn t ask that. Couldn t you con-\\ntwive to meet me here alone\\nIda, At the first opportunity. I ll do my best.\\n{Eises.) Eva, one moment.\\nEva (rises and comes^ c). Well, dear?\\nIda, Don t you think, Mr. Kids wants me to meet\\nhim here alone.\\nEva, Does he The same thought must have wan-\\ndered into his bwain that crept into Mr. Dashers, for he\\nexpects me to meet him here alone.\\nIda, Do you know what it all means?\\nEva, Certainly proposals.\\nIda. And will you permit Mr. Dasher\\nEva, No, indeed. Marry that fickle thing? Never)\\nIda. Exactly my mind. Mr. Kid s a fool.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0230.jp2"}, "231": {"fulltext": "THE BOSTON DIP. 225\\nEva. But, like Mr. Dasher, a splendid waltzer. We\\ncanuot afford to lose them.\\nIda. Indeed we cannot. Partners are so scarce.\\nEva. They want father s nK)ney.\\nIda. But they must not have his daughters.\\nEva. No, indeed. You watch me, and I ll watch\\nyou, and there ll be no proposals. (Retire to r. and l.\\nMonsieur Adonis and Mrs. Mulligrub come down\\nstage,)\\nMrs. 31. And you got my note, Munseer Adonis\\nMons. A. Ah, madam, I have it next my heart. (Pro^\\nduces an envelope^ opens it, takes out note^ puts envelope in\\nhis pocket. Beads.) Meet me in the private drawing-\\nroom when ze company are waltzing. Do not fail me.\\nHannah Mulligrub. Zat is all it say.\\n3Irs. 31. But you know what it means. I am anxious\\nto learn The Boston Dip. Were I to come to your\\nschool I should be laughed at, but here, while the com-\\npany are waltzing, no one would know it, and the inspir-\\ning music would aid me. I don t want to make a fool\\nof myself, you understand.\\n3Ions. A. Certainly, All zat I shall remember. I\\nhave written on ze back of ze note Boston Dip. I put\\nhim in ze pocket wiz my handkerchief, so zat when I\\npull hira out to wipe my face ze note will arrest my at-\\ntention, and I shall fly to you, madam. {Puts note and\\nhandkerchief in his pocket.)\\n3Irs. 31. O, you Frenchmen are so inveterate.\\nDisher. Come, Monsieur Adonis, the dance, the\\ndance! I m all impatience {aside to Eva) for ita\\nend.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0231.jp2"}, "232": {"fulltext": "226 THE BOSTON DIP.\\nKids. Weally, the delay is vexatious it is, weally.\\n{Aside to Ida.) Meet me here, you know\\nMons. A. Pardon me, I am all impatience. Char\\nmanty madam, shall I have ze pleasure. {Offers his arm tc\\nMrs. Mulligrub.) Ze night is ver warm, ver warm\\n(Music, Beautiful Blue Danube. Monsieur Adonis\\ntakes out his handkerchief. The note falls on stage. Ht\\nwipes his face, passes out door, B.,, followed hy Dashes\\nand Eva, Kids and Ida.)\\nEnter Mulligrub, c.\\nMulligrub. So, so, here we are, Mrs. Mulligrub, uu\\nexpectedly, and no doubt unwelcome. You imagine\\nthe old codger snoozing away at home, but here he\\nis, and wide awake too. It s about time the head of\\nthe house knew what is going on. And here s where the\\nmoney goes. Well, who cares There s lots of it, so\\nlet it fly. But I ve a wonderful curiosity to know how\\nmy Hannah carries herself among all these flue snobs,\\nso I m bound to have a peep. {Goes toioards door, n.\\nSees note on oarpet.) Hallo what s this? a billy-deux?\\n{Picking it up.) Where s my specs {Beads.) Meet\\nne ho, ho here s a nice little plot {reads) in\\nthe private drawung-room that s here {reads)\\nwhile the company are waltzing. Do not fail me.\\nHannah Mulligrub. My wife Ye gods and little\\nfishes my wife. Do not fail me. Is this the reward\\nof my generosity? My wife! What does it meanr\\nWho is the scoundrel that is tampering with the affec-\\ntions of Hannah, and the peace of Moses MuUigrub?\\n(lurns jiott over.) Boston Dip. Who s he? Bos-", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0232.jp2"}, "233": {"fulltext": "THE BOSTON DIP. 227\\ntOQ Dip/ There s a name. I*ve heard of the Man-\\nchester Pet, and the Dublin Baby, but the Boston\\nDip, confound him, let me get hold of him, and I ll\\nChristen him with a dip that will drown him. Here s\\nnice goings on A respectable wife, and a mother, too,\\nmaking an appointment with aa individual bearing such\\na name as that Boston Dip. He shall not fail you,\\nMrs. M., but he must meet me too. I ll not stir from\\nthis place until I know what this means. This comes of\\nletting women roam abroad when they should be kept at\\nhome. O, Mrs. Mulligrub if I don t cut down your pin\\nmoney for this my name s not Moses Mulligrub. I ll not\\nleave you a pin to stand oq. {Takes chair; slams it\\ndoivn, c) Boston Dip. (^Sits^ and jiimjps up.) Gra-\\ncious he must be a sparrer, and that s his fighting\\nname. No matter, let him come on. {Sparring.) The\\nold man s a little out of practice, but he s game. {Sits\\nfolds his arms.) If this little party does not end in a\\nshindy, it won t be my fault.\\nDasher hacks in^ r., waving his handkerchief.\\nDasher. Does she mean to come? I cannot attract\\nher attention. {Backs up stilly waving his handkerchief)\\nWhy don t she come? {Backs against Mulligrub s\\nchair sending it over, and Mulligrub on to the floor.)\\nI beg your pardon.\\nMidligruh {picking himself up) Sir!\\nDasher. I really beg your pardon. Did you break\\nanything\\nMulUgrah. No, sir but I shall presently break the\\npeace and your head.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0233.jp2"}, "234": {"fulltext": "228 THE BOSTON DIP.\\nDasJier, I beg you won t do anything of the kiad. Tt\\nWSiS an accident and besides, you are trespassing here.\\nMulligruh, O, I am And pray, sir, will you be kind\\nenough to explain the meaning of that remark\\nDasher, Certainly. This is Mrs. Mulligrub s private\\ndrawing-room, where none but her friends are allowed\\nto enter.\\nMulligruh. Indeed {Aside.) This must be Dip.\\n{Aloud.) Well, sir, I am one of her friends a partic-\\nular friend.\\nDasher. I see an old friend of the family. You re\\njust the man I want to see. Yes, sir, the moment I set\\neyes on you I said to myself, There s a man who can\\nserve me.\\nMulligruh. Indeed {aside) with a broken head.\\nDasher. Yes, sir. You know old Mulligruh?\\nMulligruh {aside). Old Mulligruh! {Aloud.) Inti-\\nmately.\\nDasher. Good. I ve never seen him, but people say\\nhe s immensely rich. What do you say Will he cut up\\nwell?\\nMulligruh {aside). Cut up Confound his impu-\\ndence.\\nDasher. I ve particular reasons for wishing to know.\\nI may say, I am very much attached to a member of his\\nfamily, you understand. I m not mercenary but you\\nknow times are hard, and to make a respectable show iu\\nsociety, have a nice house, a half dozen fast horses, and\\nall that sort of thing, requires money. Now, what I\\nwant to know is this, will the old man shell out?\\nMyMigruh. Shell out? Look here, young man, foi", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0234.jp2"}, "235": {"fulltext": "THE BOSTON DIP. 229\\ncoolness you certainly would take the premium at the\\nlargest display of frozen wares in Alaska. If I don t\\nanswer your polite questions, it is because your audacity\\nhas so astounded me, that, hang me, if I know whether\\nthere is an old Mulligrub to cut up or shell out at\\nal i. (Aside.) It must certainly be Dip.\\nDasher, O, you won t tell. Hush! there s somebody\\ncoming somebody who I am particularly anxious\\nmeet alone, you understand. Just step out of that door\\n(pointing^ c), that s a good fellow.\\nMulligrub, Sir, I shall do nothing of the kind.\\nDasher, But you must only for a moment, and then\\nyou shall return. {Pushes him bach.)\\nMulligrub, Sir, do you know who I am?\\nDasher, Certainly a friend of the family and, as a\\nfriend of the family, when the time comes you shall know\\nall. Now go, that s a good fellow. (Pushes him back to\\ndoor^ C.)\\nMulligrub, But, sir, I shall not. (Aside,) Stop.\\nI ll watch. (Aloud.) Very well, sir as I seem to be in\\nthe way, I will retire.\\nDasher, 1 knew you would you re such a good\\nfellow.\\nMulli-grub, Good fellow (Aside.) Confound his\\n\u00e2\u0080\u00a2mpudence. [_Exit, o.\\nDasher, Ha, ha Got rid of him. (Comes down stage,\\nMulligrub enters^ c, and steps behind screen.) Now for\\na tender interview with Miss Eva, ending in a proposal,\\nrhich I know she will accept. (Enter Eva, c.) I kne iv\\nyou would come.\\nEva. Because I promised. 0, Mr. Dasher, that\\nWaltz was delightfuL", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0235.jp2"}, "236": {"fulltext": "230 THE BOSTON DIP.\\nDasher. Indeed I am glad jou enjoyed it. If it\\ngave you pleasure I should be satisfied, though my heart\\nis heavy, and the waltz had little inspiration for me.\\nEva. Dear me, Mr. Dasher, you look as melancholj\\nas an owl. What has gone wrong\\nDasher, Nothing everything Miss Eva. 1 am\\non the verge of a precipice, a frightful precipice. (MuL-\\nLIGRUb s head appears above screen,)\\nMulligruh (aside). There s Dip and Eva, as I\\nlive\\nEva. I don t understand you, Mr. Dasher.\\nDasher. Upon the verge of a frightful precipice I tot-\\nter. Beneath me are the whitened bones of many a mor-\\ntal. If I fall not a tear will be shed for me.\\nMulUg-^ub {aside). Nary a tear, young man.\\nDasher. Tis the valley of disappointed hopes.\\nMulligruh (aside). Dip s getting grave.\\nDasher. Into this must I fall, unless the succoring\\nhand be stretched forth to me.\\nMulligruh (aside). The sucker\\nDasher. You, Miss Eva, you admirable, divine,\\nangelic can stretch forth that hand to save Dasher\\nfrom dashing himself into the valley.\\nEva. Mr. Dasher, have you been drinking?\\nDasher. Draughts of bliss from the fountain of love\\nbasking in the sunshine of your presence. O, Miss Eva,\\nwill you save me\\nEva. Once again, Mr. Dasher, I tell you I do not un-\\nderstand you.\\nMulligruh {aside). Twould puzzle a Dutchman.\\nDdsher. Have I then been mistaken have those little", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0236.jp2"}, "237": {"fulltext": "TIIK nO TON DIP.\\n231\\ndelicate aUeations which I foudly imagiaed were gaining\\nfor me a corner on your heart ah, I mean in your\\nheart been wasted on the desert air?\\nMalligruh {aside). Dip s getting airy.\\nDasher. On the brink of a precipice I stand\\nMuIUgruh (aside). On the rocks again, Dip.\\nDasher, Can you see me rush headlong to ruin, an-\\ngelic Eva.\\nJIuUigruh (aside). Dip s getting high\\nDasher. You are the star of my destiny you are the\\nprize for which I strive, you are the divinity of my ador-\\nation. Here on my knees (Falls on his hnees l. of\\nEva.) I swear nothing shall part us.\\nEnter Ida, r., hurriedly,\\nIda, 0, quick, quick, Eva I ve got you such a\\npartner He s all impatience. Quick the music is just\\nabout to commence. I wouldn t have you lose him for\\nthe w^orld.\\nDva. But Ida\\nIda. Don t stop to talk. Come quick quick (Drags\\nher off, R.)\\nMuUigruh (aside). Ha, ha! Dip s left on the brink\\nagain.\\nDasher (jumping up). Confound that girl I ve lost\\nthe chance. This comes of making a long story about a\\nrery sliort question. The precipice was a failure. I ll\\ngo and pump the friend of the family. (Exit,c. Mdlli-\\nGRUB comes from screen.)\\nMuUigruh. That can t be Dip, after all. He s after\\nEva. But he can t have her. Thanks to his confiden-", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0237.jp2"}, "238": {"fulltext": "232 THE BOSTON DIP.\\ntial assurance, T can send him over the precipice inl3\\nthe valley of disappointed hopes in short order.\\nEnter Kids, c.\\nKids, Now weally, I saw Miss Ida enter this woom,\\npositively saw her, and now she s gone. Hallo an in-\\ntrudaw. Sir, I have not the honow of your acquaintance.\\nThis woom is the wesort, the westing-place of a bevy of\\ndivine goddesses. No masculine mortals are allowed to\\nentaw here.\\nMulligruh, Show then you are not a masculine mor-\\ntal, I take it.\\nKids, Sir, you are impertinent. I am I am a par-\\nticular fwiend of the lady who is the lawful possessor of\\nthis wesort.\\nMulligruh (aside). Can this be Dip? (^Aloud,) Sir,\\nam a particular friend of the lady in question, being the\\nbrother of her husband s brother.\\nKids, Weally, the bwover of her husband s bwoven\\nPon honow, that s a sort of cwoss-eyed welation.\\nMulligruh, What do you mean by that? Do you\\ndoubt my right to be here\\nKids, Hey? wight? no, no. {Aside,) He must\\nbe a witch welation. {Alcid,) Do you know Mr. Mul-\\nligwub\\nMulligruh, Intimately.\\nKids, I say, would it be a good inwestment to wna\\naway with a membaw of his family\\nMulligruh {aside). It must be Dip. Shall I mash\\nhim? No, no, the proof first. {Aloud,) Splend\\nCan 1 help you", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0238.jp2"}, "239": {"fulltext": "THE BOSTON DIP. 233\\nKids, Well, I don t know. He s a wough spe(;imen,\\nand he so vulgaw. Sold fish in a handcart, too. I de-\\ntest fish, it s on such a low scale. Now isn t that good\\nIt s owiginal, too. I don t like theodaw. Dreadful low\\npeople, but then, there s lots of money. Yaas, I think T\\nwill sacwafice myself.\\nMulligruh {aside). I ll sacrifice you, you monkey.\\n{Aloud,) But tell me, who is the favored member of the\\nfamily\\nKids, Hush somebody s coming. You must we-\\ntire.\\nMulligruh, What, and lose the fun? Xo, I thank\\nyou.\\nKids, You must, weally. The lady is coming. It\\nwould shock her delicate nerves were you to be pwesent\\nat the interview. So go, that s a dear fellah. {Pushes\\nhim hach, C.)\\nMulligruh {aside). He calls me a good fellah. Shall\\nI fell him on the spot No, I ll wait vengeance can\\nafford to wait.\\nKids, Do wetire, and, when it s all ovaw, I will call\\nyou. {Pushes him hack^ c.) Good fellah.\\nMulligruh, You ll call me when it s all over. {Aside,)\\nI ll be on hand while it s going on. [Exit^ C.\\nKids, There^ the bwover of the husband s bwover is\\nexcluded from the apartment of the wife of the bwover s\\nhusband no, that ain t it, it s the bwover s wife s hus-\\nband no, or (MuLLiGRUB enters^ c, and gets hehind\\nscreen,) Here she comes, lovely as a poppy, becaur-\u00c2\u00ab\\nBhe s got a rich poppy. That s good owiginal, too.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0239.jp2"}, "240": {"fulltext": "234 THE BOSTON DTP.\\nEnter Ida, r.\\nIda, Here I am, Mr. Kids, to fulfill my promise.\\nKids, Yaas, Miss Ida, like the bounding fawn that\\nthat weally, I forget what the bounding fawn wa?\\ndoing O, ^veally, bounding, of course. That s verj\\ngood isn t it? owiginal, too. But where was tlie\\nbounding fawn bound? that s the question.\\nIda. I wish I could answer your que stion, but, not\\nbeing versed in natural history, I am unable to say.\\nKids. Weally. Well, never mind the fawn. Listen,\\nO, listen I m a miserable wetch, I am.\\nMa. Miserable? you?\\nKids. Yaas, weally. Fm standing Fm standing,\\nwhere am I standing? O, on the bwink of a howid\\npwecipice.\\nMulligrub {sticking his head above screen). Hallo!\\nanother brink, another precipice, and Ida, as I live.\\nIda. La, Mr. Kids, what a dangetous position.\\nMalligruh {aside). Kids then it s not Dip, that s certain.\\nKids. O, dweadful, dweadful. But you can save me.\\nIda. How, Mr. Kids?\\nKids. That s the ideah. Miss Ida for w^hen a fellah\\nis on the bwink of such a pwecipice, as the pwecipice I\\nam on the bwink of, the best way to save him is to push\\nhim ovaw.\\nIda. Well, that s certainly an original idea.\\nKids. Yaas, it is an owiginal, idea mine, too I\\nfound it in my bwain, with the help of the diwectory.\\nWhen a fellah s on the bwink of matwimony, of course\\nhis safety and his happiness is secured by his being\\npushed into it. You see my ideah.\\n1", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0240.jp2"}, "241": {"fulltext": "THE BOSTON DIP. 235\\nIluU gruh (aside). Deuced chiras/ one.\\nIda. But how can I help you?\\nKids, By pushing me ovaw. Miss Ida, you are be-\\nivitching, you are lovely, you are divine, and on my\\nknees I ask you (falls on his knees l. 0/ Ida) to give\\nme a push.\\nMulligruh {aside). Confounded jackass.\\nIda, But, Mr. Kids, I don t understand. You re so\\nso (Aside,) Where can Eva be? (Aloud,) You\\nsay you are on the brink of a precipice.\\nKids, Howid, howid and if you consent to be\\nEnter Eva, r.\\nEva. Quick, quick, Ida mother s fainted.\\nIda, You don t mean it?\\nEva, Yes, yes, come quick What are you wait-\\ning for?\\nIda. But Mr. Kids is on the brink of a precipice.\\nEva. Let him stay there. Come with me. (Drags\\nEva off, R.)\\nMulligruh (aside). Won t somebody be kind enough\\nto remove that precipice?\\nKids (rising), Yaas, weally, that owiginal ideah\\nwill kill me, I know it will. I must go and bathe my\\nhead in Cologne, I must weally. Miss Ida didn t push\\nwell in fact, I don t believe she s fond of pushing fel-\\nlah s ovaw, I don t, weally. \\\\_Exit^ c.\\nMulligruh (comes from hehind screen), I don t think\\nthat s Dip I don t, weally. Egad those girls of\\nmine are determined not to be caught by chaff. 1\\nwonder if I can say as much for the old lady. I wish", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0241.jp2"}, "242": {"fulltext": "236 THE BOSTON DIP.\\nshe would make her appearance. This must be the\\nroom. Ah, here she comes. Now for something in-\\nteresting. (Buns behind screen J)\\nEnter Mks. Mulligrub, r.\\nMrs. M, The fiddlers are tuning up for a waltz, and\\nif Munseer Adonis is to keep his word now is the\\ntime. I wonder what Moses would say if he knew\\nwhat I was about. But he can t know. He s safe at\\nhome, and there s certainly no harm in obtaining a\\ngraceful inquisition to my other accomplishments. (Music^\\nBeautiful Blue Danube^ soft and low.) There they go.\\nO, isn t that splendid. Waltzes about stage in a very\\nawkward manner.)\\nMulligrub (luith head above screen). What s the mat-\\nter with Hannah? She s bobbing about the room like\\na turkey with s its head off.\\nEnter Monsieur Adonis, r.\\nMons. A. Charmant^ charmant I (Music stops,) Madam,\\nyou are ze ecstasy of motion. You have ze grace of\\nze antelope, and ze step of ze fairy.\\nMrs. M. O, don t You have come\\nMons. A. Wiz ze Boston Dip, as I have promise.\\nMulligrub (aside). Boston Dip That s him\\nthe scoundrel\\nMrs. M. O, I m so nervous.\\nMulligrub (aside). You ought to be, you hypocrite.\\nMons. M. Zar is not ze least occasion. We are\\nhere alone.\\nMulligrub (aside). Not quite. Dip, not quite.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0242.jp2"}, "243": {"fulltext": "THE BOSTON DIP. 237\\nMons, A, No one will dare to enter here. Zar ia\\nnone to look at you but I, and am I not discretion\\nitself, madam?\\nMrs, IT, 0, you are the soul of honor.\\nMulligrub (aside). Humbug\\nMons, M, Now, zar is no time to lose. Permit me.\\n(Takes her hand and leads her c.)\\nMulligruh (aside). Dip s taking her hand. I shall\\nchoke\\nMons, A, Put your left hand in mine so.\\nMulligruh (aside). She obeys him. Ah, faithless\\nHannah\\nMons, A, Zat is good. Do not tremble zar is no\\ndanger.\\nMuUigrich (aside). Don t be so sure of that.\\nMons, A, Now, my arm around your waist so.\\nMulligruh (aside), 0, perfidious Hannah!\\nMons, A, Now let your head drop upon ze collar of\\nmy coat. Ah, zat is good, zat is exquisite.\\nMulligruh, She presses his collar, and my cholar is\\nrising. I shall choke with rage.\\nMons, M. All right. Now, one, two, three, and\\noff we go.\\nMulligruh (pushing the screen over on to the floor, Dis*\\ncovered standing in a chair with douhled fist). Stop I\\nVery loud,)\\nMrs. M, Ah (Screams^ and falls into MONSIEUB\\nAdonis s arms.)\\nMons. A, Sacre Who calls so loud?\\nMulligruh, An injured husband.\\nMrs. M. (jumping up), 0, it s Moses I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0243.jp2"}, "244": {"fulltext": "238 THE BOSTON DIP.\\nMulligruh, Yes, it ig Moses! Moses the deluded;\\nMoses the deceived Moses the betrayed Moses ou\\nthe brink of a precipice.\\nMons. A. Moses 1 Who be Moses?\\nMrs, 3L My husband.\\nMons, A. Monsieur Mulligrub O, ze light break\\nupon my head.\\nM.dligruh {jumping down). Tremble, rascal You re\\ndiscovered. Woman, begone O, Hannah can J\\nbelieve my eyes. You you make an appointment\\nwith such a miserable, contemptible, sneaking cur as\\nthat But I ll be revenged, rascal Takes Mon-\\nsieur Adonis hy throat) Blaster of peaceful families\\n{shaking him), I ll have your life\\nMons, A, Help help I am choke all over too\\nmuch Help help\\nMrs. M. O, Moses, spare him\\nMulligruh. Never I ll shake the life out of him.\\nRascal\\nMons, A, Help somebody, quick I\\nMulligruh, Scoundrel I\\nMons. A. Help help He squeeze my windpipe\\nall too much.\\nEnter^ R., Ida and Eva. c, Dasher and Kids.\\nEva, Father here?\\nTda, And fightinor?\\nDasher, What is the meaning of this?\\nKids. Weally, a wow, a wiot, a wumpus\\nMulligruh. Meaning of it Look at this miserable\\nwretch this thing who answers to the name of\\nBoston Dip.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0244.jp2"}, "245": {"fulltext": "THE BOSTON DIP. 239\\nAll Bostou Dip.\\nMons, A, Sar, you insult me. My name is Moo-\\neieur Achilles Adonis\\nEva, And Boston Dip is the name given to the\\nlatest movement of the waltz.\\nMalUrjrub. What, not the name of an individual?\\nThen, what is the meaning of that? {SJiows note.)\\nMov^- A, Zat is my note, monsieur.\\nMr$. M, Yes, written by me to Monsieur Adonis,\\nBiking him to give me a private lesson here.\\nEva. And father thought it a love affair? O,\\nfather\\nIda. A man with the name of Boston Dip! O,\\nfather\\nDasher, Friend of the family, you ve made a mis-\\ntake.\\nKids, Yaas, dipped into the wong man. Now isn t\\nthat good owigiual, too.\\nMuUigruh (looks at each in a foolish manner^ then\\ntakes Mrs. Mulligrub by the hand; leads her c, and\\nkneels), Hannah, I m on the brink of a frightfid prec-\\nipice. I ve made a fool of myself. Forgive me, and\\nlet s go home.\\n2Irs, 21, I think you have, Moses.\\nDasher, There s not the least doubt of it.\\nKids, Yaas, Moses into the bull-wushes That s\\ngood weally owiginal, too.\\nMidligruh {rising). Monsieur Adonis, I beg your\\npardon for my rudeness. I will make amends, ample\\nreparation. Greenbacks shall shower upon your classic\\nacademy. To you, gentlemen, I need make no apolo-", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0245.jp2"}, "246": {"fulltext": "240 THE BOSTON DIP.\\ngies. You see the old man has cut up, and per-\\nhaps may be made to shell out. I don t think my\\ngifis will be able to assist you on that precipice. With\\nyour permission, I will retire.\\nEva, Don t go, father. Stay and enjoy yourself.\\nIda. And see us waltz. We have splendid partners.\\nMons, A, Proficient in all ze elegancies of ze art.\\nMrs. M. Moses, I m ashamed of you. You re really\\nproficient in the usages of fashionable depravity but I ll\\nforgive you, and make you acquainted with my new\\nflame, one which you so grievously mistook, my harm-\\nless pet, The Boston Dip. {Music^ Beautiful Blue\\nDanube, Mr. Mulligrub hows^ and retires up, c.\\nWaltzj Monsieur Adonis and Mrs. Mulligrub;\\nDasher and Eta; Kids and Ida.)\\nCURTAIN.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0246.jp2"}, "247": {"fulltext": "THE DUCHl^SS OF DUBLIN.\\nA FARCE.\\nCHARACTERS.\\nDr. Adam Aconite, a Young Physician.\\nFrank Friskey.\\nOliver Oldbuck, rich and gouty.\\nSilas Sharpset, a Speculator.\\nDennis Doolan, a Widower.\\nPeter Plumpface, with a bad cough.\\nAnnie Aconite, the Doctor s Sister.\\nLucy Linden, a Milliner.\\nMiss Abigail Alllove, an Autograph Hunter.\\nMaggie Mullen, The Duchess of Dublin.\\nCOSTUMES.\\nDr. Aconite. Black suit, white necktie, light side whiskers,\\nand light wig.\\nFrank. Dark coat and vest, light pants, roundabout hat.\\nOldbuck. Gray wig, blue coat with brass buttons, double-\\nbreasted vest, white neckerchief, foot swathed in ban\\ndages, cane.\\n16 241", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0247.jp2"}, "248": {"fulltext": "242 THE DUCHESS OF DUBLIN.\\nSnARPSET. Gray suit, red cop wig, full red beard, Kossuth\\nhat.\\nDennis. Red wig, blue overall suit, rusty white hat.\\nPlumpface. Made up fat, very red face, dark, old-fashioned\\nsuit. Eye-glasses attached to a string, which drop from hia\\nnose when he coughs.\\nAnnie. Neat morning dress.\\nLucy. Tasty street dress and hat.\\nAbigail. Close-fitting black dress, hair a la Grecian, black\\nlace cape, broad straw hat, red nose.\\nMaggie. Neat dress of a kitchen girl, sleeves rolled up.\\nScene. Dr. Aconite s office. Table^ c, with a display\\nof vials^ one or two hooks, writing materials, Cm\\nChair, l. of tahle. Two chairs hack. Small table, R.,\\nwith chair beside it.\\nMaggie discovered dusting.. Her left hand is wrapped\\nin a thick covering.\\nMaggie. Pon my sowl, it s the docthor s a jewel,\\nthat he is Didn t I burn me wid the hot fat, that\\nmade me howl wid the pain uv it? And didn t the\\nblissid docthor tind me loike his own sisther wid the\\ncooling and haling salve for me fisht, and the wee sugar\\npills for the faver that was burnin me up intirely? And\\ndidn t the blissid crayther, wid the bountiful heart in im,\\ncharge niver a cint for it, or sthop it out uv the wages uv\\na poor girl, as many a hathen would do, bad luck to em.\\nTo be sure he did and, by that same toke j, it s Maggie\\nMullen would run the wide worrld over for the sakes uv", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0248.jp2"}, "249": {"fulltext": "THE DUCHESS OF DUBLIN. 245\\nhim. Och, but it s little docthoring he has onyhow, and\\nperhaps I did him a sarvice giving him the practice\\nloike. Will, if the sick folks only knew how handy he\\n:s, there d be little rist for the sole uv my fut answering\\nthe bill.\\nEnter Friskey, l.\\nFriskey, Hallo, Maggie! Where s the doctor?\\nHaggle. Sure it s at his brikfast he is. Can t you\\nlit him have a little pace for his sowl? What wid\\nbein up all night, and runnin* to sick folks all day, it s\\nlittle rist he finds onyhow,\\nFrishey, That s right, Maggie. Keep up a show of\\nbusiness if there is none. But I m in the secret,\\nMaggie, Sacret, is it? Sure there s none.\\nFrishey, Ah, we know, Maggie, that our friend the\\ndoctor has yet to get his first patient.\\nMaggie. Indade you re wrong there, Masther Frank.\\nHaven t I been under his charge, and don t I know the\\nskilful arts uv him? Indade I do, and can give him the\\nhighest characther.\\nFriskey. O, I forgot that, Maggie. He s made a\\ncommencement. How s your hand, Maggie?\\nMaggie. As comfortable as it can be wid the finest\\nmidical attention.\\nFriskey. That s good. Well, I ll wait for him. {Sits\\nit tahle takes up newspaper.)\\n3Iaggie. That s right, sir. He ll be glad to say ye s.\\nBut mind, don t interfare wid his business. Don t tak\\nfiis mind off the purshuit uv patients, for it s much they re\\nw^anted, ye s can belave. [_Fxit, k.\\nFriskey. I do helave it. Now hei*e s a man who has", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0249.jp2"}, "250": {"fulltext": "244 THE DUCHESS OF DUBLIN.\\npassed a splendid examination, received his diploma, and\\nsettled down in his native village to practise medicine,\\nbut so set are the good people that they will never\\npatronize him until age and experience have fitted him to\\nbe their medical adviser. Stuff and nonsense While\\nhe is growing he must starve, unless some way is found\\nto move their stubborn will. Not a patient no, I m\\nwrong there s his free patient, Maggie, The Duchess\\nof Dublin, as Lucy and I facetiously call her. A free pa-\\ntient If we could only contrive to get one of the high and\\nmighty snobs of the village into his clutches, we d physic\\nhim until the whole population flocked to his office.\\n{Knock, L.) Come in. {Enter Lucy Linden, l.) Ah,\\nLucy, come in. How d ye do? {Shake hands,)\\nLucy. Where s Adam?\\nFriskey, The first of men is at his breakfast, replen-\\nishing his exhausted system before renewing the toil of\\npractice.\\nLucy. You re too bad, Frank. The dear fellow must\\nnot be laughed at. You know he has no practice.\\nFriskey. O, there you re wrong. The first patient\\nhas been found.\\nLucy. You don t mean it? Who is it Squire Prim,\\nor Aunt Lucy Spear, Mr. Plumpface, or Mr. Oldbuck?\\nDo tell me. I m dying to know\\nFriskey. A person of greater iniportance. One with\\na high-sounding title.\\nLucy. Title Judge Higgins General Proof? You\\nmysterious fellow, why don t you tell me.\\nFriskey. It s The Duchess of Dublin.\\nLucy. O, pshaw Maggie Mullen. Frank Friskey", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0250.jp2"}, "251": {"fulltext": "THE DUCHESS OP DUBLIN. 245\\nyou re a torment. I really thought twas some distin^\\nguished chSracter.\\nFrishey. Well, the duchess had a fine charadher from\\nher last place. By Jove an idea.\\nLucy. Get rid of it, Frank it s dangerous.\\nFrishey. Hush This is really a magnificent idea.\\nOur doctor must have patients, for several reasons\\nFirst, he is engaged to a beautiful young lady, v^^hom he\\nwill not marry until his practice v^ill allow him to sup-\\nport her as he desires\\nLucy. Just as if I cared. I m sure I d rather help\\nhim up hill, than to wait for the elegant mansion he\\nhopes to rear on the summit.\\nFrishey. There you are interested. In the second\\nplace, his sister is engaged to a fascinating young gentle-\\nman, ahem and him she will not marry until her brother\\ncan afford to let her leave his house, of which she is the\\ntoiling mistress.\\nLucy. And there you are interested.\\nFrishey. Exactly. Therefore we are both interested\\nin increasing the doctor s practice as soon as possible,\\nLucy, The sooner the better\\nFrishey. Now listen to me. Suppose that a high-bom\\nlady, a titled lady of Europe, should visit this country\\nshould pass through this village should suddenly be\\ntaken sick. The aid of our good friend the doctor is re-\\nquired. He is called in. The news spreads like wild-\\nfire through the village. Patients flock to his office. His\\nfortune is made, and we are happy in our loves.\\nLucy. Ah, but where can we find such a patient?\\nFrishey. She s here beneath this lunnble roof The\\nDuchess of Dublin, incog.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0251.jp2"}, "252": {"fulltext": "?46 THE DUCHESS OF DUBLIN.\\nLucy, Why, Frank, what a desperate idea\\nFriskey. Desperate cases require desperate means.\\nWhat say you, will you join me?\\nLucy. In what way\\nFrishey, We will leave this house at once, separate,\\nyou go to the right, I to the left. Drop in here and there\\nquite accidentally, and, in confidence, disclose the in-\\nteresting news that The Duchess of Dublin, incog,\\nis in the skilful hands of Dr. Aconite. Magnify it a\\nlittle, and await the result. I am confident that before\\nnight Adam will be as happy as a rush of complicated\\ndisorders can make an M. D.\\nLucy, Capital only if we are found out\\nFrishey, We ll laugh it off as a capital joke. If, in\\nthe mean time, Adam gets a good patient, he ll make his\\nway to a good practice.\\nLucy, It s an absurd idea to exalt our Maggie to so\\nhigh a position. Should anybody see her\\nFriskey, Ah, but nobody must see her. The duchess\\nis incog. You must communicate in the strictest confi-\\ndence, and have it distinctly understood that not a word\\nmust be said to the doctor about his grand patient.\\nLucy, I understand, and you may depend upon me\\nonly if the worst comes I shall throw all the responsibility\\nupon you.\\nFrishey, And I ll agree to take it all. Come, let s\\nBet out.\\nLucy, Without seeing Adam?\\nFrishey, Yes, for I shan t trust you with him until\\nvou are fully committed to this arch plot. Come.\\nLucy, What, would you rob me of a sight of my\\nA^dam", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0252.jp2"}, "253": {"fulltext": "THE DUCHESS OF DUBLIN. 247\\nFrisheij. Eve-n so. Am I not robbed of the sight of\\nmy Annie?\\nLucy. Xot even one embrace?\\nFrisl:eij. As a substitute embrace me. (^Throws kii\\narms around her.)\\nLucy {screams). You horrid wreteh {Buns off^ L\u00c2\u00bb,\\nfoUoived hy Frlskey.)\\nDr. Aconite appears^ r.\\nDr, A. Am I awake? My friend, my bosom friend,\\nwith his arms about my affianced bride Pills and pow-\\nders pestle and mortar! am I awake? Well, it s my\\nusual luck. Day by day I ve seen my stock of provisions\\nsensibly decrease. I have this morning devoured the\\nlast fishball that could be manufactured from the slender\\nstock of codlish and potatoes. It has vanished, and so\\nhas my love, with the friend of my bosom. There s\\nnothing left for me now but to make a few slender meals\\nof my sugar-coated pills, fricassee the canary, and theo\\nslowly but sui eJy starve. {Sinks into chair, L.)\\nEnter Ajn xee Aconite, r.\\nAnnie, Well, brother, what would you like for\\ndinner\\nDr,A, Dinner? ha, ha! Dinner! Well, what say\\nyou to roast turkey with cranberry sauce?\\nAnnie. Brother!\\nDr. A. Or roast goose, with guava jelly?\\nAnnie. Brother!\\nDr, A, Or roast buffalo, with venison steak, devilled\\nkidneys, and salmon, with oyster sauce on the half\\nchell.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0253.jp2"}, "254": {"fulltext": "248 THE DUCHESS OF DUBLIN.\\nAnnie. Adam, are you crazy\\nDr, A. Why not? Our dinner must be an imaginary\\none, so let s have it as costly and luxurious as possible.\\nThere s nothing in the larder. Let s be extravagant, and\\ncook it all.\\nAnnie, Why, how you rave Is the money all gone\\nDr, A, Every cent.\\nAimie, But the butcher\\nDr, A, Would carve me with his meat-axe if I asked\\nfor credit.\\nAnnie, Thea I ll try him. He won t carve me. Now\\ndon t be despondent. We have always had a dinner,\\nand, depend upon it, you shall to-day.\\nDr. A.\\nO Woman, in our hours of ease.\\nUncertain, coy, and hard to please\\nBut, when the dinner seems to lag,\\nYou ll have it, if you boil the puddin -bag.\\nAnnie, why don t you marry Frank Friskey?\\nAnnie. Adam, why don t you marry the little mil-\\nliner?\\nDr, A, Because I have no psitients.\\nAnnie. And I have patience to wait until you get\\nthem before I marry Frank.\\nDr, A. But I never shall have a patient. There s\\na dead set against me. They re determined I shall not\\ncure or kill anybody until I kill myself with waiting.\\nAnnie, Not so bad as that, Adam. Be patient, and\\nwait.\\nDr. A. 0, humbug My instruments are all getting", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0254.jp2"}, "255": {"fulltext": "THE DUCHESS OF DUBLIN. 249\\nrusty, my pills old, my plasters cracking, aud my drops\\ndrying up. Hang it, I ll go and doctor myself for amuse-\\nment. {KnocT:^ L.)\\nAnnie, Hush Perhaps there s a call.\\nDr, A. The undertaker, perhaps, in search of a job.\\nCome in.\\nEnter Dennis, l.\\nDennis, The top uv the mornin to ye s. Is the doo\\nther man in I donno\\nDr, A, Yes, I m the doctor.\\nDennis, Is that so? Yer rivirance, if ye plaze, Squire\\nCroony wants ye s quick. The ould missus s howlin in\\nthe pangs uv insinsibiiity, the young masther s took wid\\nthe jumpin croup in his skull, and the babby s got the\\njanders an it s pisoned they all are intirely.\\nDr, A, TThat, Squire Croony?\\nDennis, The same, yer rivirance, onto the hill\\nbeyant.\\nDr, A, 0, you ve made a mistake. He wants Dr.\\nAllopath.\\nDennis, Niver at all, at all. It s Dr. Ac Ac\\nAcraoniting I was to sind.\\nDr, A, {jumping njo, and pulling off Ms dressing-gown).\\nMy coat quick quick (Annie runs off, r.) Mag-\\ngie, Maggie, my hat and cane Here s luck. (Enter\\nAjnnie, ivith coat. He jumps into it.) YouVe sure\\nhe sent for me?\\nDennis. To be sure I am.\\nDr, A. Glory glory Rich Squire Croony I m\\n9i fortunate man. Where s my medicine case? {Bum\\nto table^ R., and takes it,) My good man, I m terribly\\nAfraid youVe made a mistake.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0255.jp2"}, "256": {"fulltext": "250 THE DUCHESS OF DUBLIN.\\nDennis, Troth. I m afraid they ll all Ht well afore\\nyou git there.\\nDr, A, That would be fatal ahem to me. Tm\\noff. m return at the earliest possible moment. Should\\nanybody call, let them wait. Tell them I am suddenly\\ncalled to my rich patient, ahem Squire Croony. {^Going\\nEnter Maggie, r., with Dr. Aconite s hat and cane.\\nMaggie. Sure, docther, you re not going widout yer\\nhat?\\nDr. A (returning). That would be a mistake. (Puts\\non hat.) You re sure, my man\\nDennis. O, bother Would ye lave them all to die\\nsuddenly wid a long illness\\nDr. A. I m off. Glory glory Luck {Dances\\nto door, L., then suddenly stops, straigMens himself^ and\\nputs on a serious face). Professional dignity, ahem)\\n{Struts offy L.)\\nAnnie. Maggie, remember, if anybody calls, The doc-\\ntor has been called to Squire Croony. [^Exit, r.\\nMaggie. That I will the dear docther The luck s\\na-coomin\\nDennis. Ah, ye s the fine gurl Sure ye s remind\\nme uv Donnybrook fair, in the ould counthry, vnd ye 3\\nrosy cheeks, and pearly teeth, as white as as as\\ntombstones.\\nMaggie. Ah, will, will It s the blarney-stone ye ve\\nkissed, sure, in the ould counthry.\\nDennis, To be sure I have, colleen. Ah, bliss the\\nould sod Sorry s the day I lift it, wid my own party", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0256.jp2"}, "257": {"fulltext": "THE DUCHESS OF DUBLIN. 251\\nwife, Molly, who s been dead and gone the year, an me\\nwid the childers \\\\vid their bills open for food loike the\\nlittle birds\\nMaggie. Tis a widerer ye s are?\\nDennis. A lone widerer, wid a tear in one eye and the\\nother wnde open tight for a purty girl to fill the sitivation\\nmade vacant by the absince of my Molly.\\nMaggie. Is it lonesome ye are\\nDennis. Lonesome is it? Begorra ye may will say\\nthat. Sure there s not blankets enough to kape the chill\\nout uv me heart, whin I wake in the night and miss the\\nmusic uv Molly s snore for she had a powerful organ,\\nand could pipe St. Pathrick s Day through her nose\\nwidout missing a note. Could ye s riccomraend me?\\nMaggie. Troth, I don t know what ye mane.\\nDennis. To a nice, respectable gurl that wouldn t\\nmind incumbrances in the shape of nine as purty childers\\nas iver built stone huts or made dirt pies, the darlints.\\nMaggie. Troth, I think ye ve give nine good raisins\\nwhy no smart gurl would loike to take the head uv yer\\nestablishment. She d be loike the ould w^man that lived\\nin a shoe.\\nDennis. An ye couldn t be prevailed upon yeself to\\nshare my fortunes\\nMaggie. What s that, ye loonytic? Away wid ye s,\\nI ll have none uv yer Molly s childers distractin my\\nBhlumbers. So ye can take yer hat, misther, and yer\\nlave to onct.\\nDennis. O, now, pity the sorrows of a poor lone,\\nafflicted widower.\\nMaggie. Git out er that, or I ll break yer skull. Awa;f", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0257.jp2"}, "258": {"fulltext": "252 THE DUCHESS OP DUBLIN\\nwid ye s. (Dennis runs off^ l. B.uns into Olbbuck,\\nwho enters.)\\nOldhuch. O, mwrder my foot! you villain! you\\nscoundrel!\\nDennis. I ax jrer pardon. Sind me the bill. [^Exit^ L.\\nOldhuch, Confound you for a blundering fool Girl,\\ngive me a chair. (Maggie sets cliair^ r. c. Oli.buck,\\ngroaning^ hohhles to it^ and sits,) Now, then, where s\\nthe doctor\\nMaggie. Sure he s at Squire Croony s.\\nOldhuch. Squire Croony s O, that foot Why, he\\nmust have a pretty good practice.\\nMaggie. Ye may will say that. He hasn t ate a mor-\\nsel for three days, nor slipt for a wake.\\nOldhuch. Now that s a lie O, my foot Bring me\\na footstool do you hear? Quick\\nMaggie. What s that?\\nOldhuch. A footstool, quick, or I ll break this\\ncane\\nMaggie {snatching cane from him). Ye ll be civil, so\\nyer will, or out uv this house ye go.\\nOldhuch. Give me that cane O, my foot! You\\ntorment.\\nMaggie. Be aisy now, misther, and till yer business.\\nOldhuch. I want the doctor.\\nMaggie. He s away wid dacint sick folks, that don t\\nhowl and break canes, and the loike, ye ould hathen\\nOldhuch. Do you know who I am?\\nMaggie. I niver set my two eyes on ye s before the\\nday, and I niver want to again.\\nOldhuch. You re a saucy jade O, my foot I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0258.jp2"}, "259": {"fulltext": "THE DUCHESS OF DUBLIN. 253\\nMaggie (poJcmg Ms foot with the cane). Does it\\nbarn.\\nOldhuck. O murder Do you want to kill me?\\nMaggie. Kape a civil tongue in yer head, and FU do\\nye s no harm.\\nOldbuch. When will the doctor return?\\n3Iaggie. Soon as he s kilt or cured the sick folks at\\nSquire Croony s.\\nOldbuch, Has he any patients in the house\\nMaggie. Yis, one. (^Aside.) Sure, I m his patient\\nthat s no lie.\\nOldbuch. Ah Male or female\\nMaggie. Well, from my sowl, ye s a mighty inquisi-\\ntive ould chap. It s a famale.\\nOldbuch (aside). Ah, it s true then. Sh Come\\nhere, my good girl. (Maggie approaches him^ and hits\\nhis foot.) O, my foot! You clumsy\\nMaggie (poking his foot with the cane). Does it\\nburn\\nOldbuch. O O O Will you be quiet?\\nMaggie. If ye ll kape a civil tongue.\\nOldbuch. Tm dumb. But tell me this patient\\nwho is she? I ll be secret.\\nMaggie. Sure, ye s mighty mysterious. It s myself.\\nOldbuch. You? (Aside,) They said she was i7zco^.\\nTliis must be her. And now I look at her, there s a cer-\\nluin grace about her, a queenly air O, it s the duchess,\\n(Aloud.) Your grace\\nMaggie. What s that?\\nOldbuch. Pardon me, your grace, I failed to recognize,\\niu this mean attire, the high-born lady, which your high*\\nUess must be.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0259.jp2"}, "260": {"fulltext": "254 THE DUCHESS OF DUBLIN.\\nMaggie. The ould feSow s looney. (^Pokes his foot\\nwith the cane,)\\nOldhuch O O my foot\\nMaggie. Will ye s kape a civil tongue\\nOldbuck, Ten thousand pardons. I forgot your dis\u00c2\u00bb\\nguise.\\nMaggie. Disguise is it? Troth, it s my belafe that\\nit s yerself is disguised intirely in liquor.\\nPlumpface {outside^ l., coughing violently). Whereas\\n{cough) the {cough) doctor? {Enters^ l.)\\nOldhuch. Old Plumpface, confound him\\nMaggie. The doctor, is it? Troth, he s away on a\\ncall. He ll soon return. Take a cheer. {Hands him\\nchair L. He sits.)\\nPlumpface {coughs). O, this infernal cough! I m in\\nthe last {cough) stages of a decline. {Caughs,)\\nMaggie. The docther ll cure ye s in a jiffy.\\nOldhuch. Not that cough. Egad, he s kept it up for\\ntwenty years, and grows fat on it. Hallo, Plumpface\\nI thought Allopath was your medical adviser.\\nPlumpface. He s a swindle. {Cough.) He does me\\nno good. {Cough.) I m going to try the new one.\\nCough.)\\nOldbuck. Humbug Keep your money. There s\\nnothing the matter with you. You ve tried twenty doc-\\ntors. They bleed your pocket, and add power to that\\ninfernal cough.\\nPlumpface. Humbug yourself! {cough) hobbling\\nround {cough) with that {cough) foot wrapped up.\\n{Cough.) Stay at home and diet. {Cough.)\\nMaggie. Yell make a die of it some day, sure, wid\\nthat watchman s rattle in ye s throat.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0260.jp2"}, "261": {"fulltext": "THE DUCHESS OF DUBLIN. 255\\nPhtmpface (to Maggie). Here (cough), I want to\\nwhisper to you. (Cough.)\\nMaggie (comes close to him.) D ye call that a whisper?\\nFlujnpface, Hush! (Cough.) Don t let Oldbuck\\nhear. (Cough.) How is she? (Cough.)\\nMaggie, What she d ye mane?\\nFlump/ace. Hush The doctor s (cough) patient\\nhere.\\nMaggie. Is it mysilf Troth, I m pickin up lively.\\nPlump/ace (aside). Her? Can she be the duchess?\\nIt must be, incog. Your grace. (Cough,)\\nMaggie (aside). Your what?\\nPlumpface, I m delighted to (cough) meet your high-\\nness. (Cough,) When did you leave the old country?\\n(Cough.)\\nMaggie, The ould counthry, is it?\\nOldbuck, Here, this way. (Aside to Maggie.)\\nPlumpface is an old fool. Don t mind him, your grace.\\nMagg e, Will, pon my sowl, if here isn t a couple of\\nthe quarest ould chaps I iver met. O, here s the doc-\\nther. (Gives Oldbuck his cane,)\\nEnter Dr. Aconite, l. Exit Maggie, r.\\nDt, a. The ice is broken. I ve cured four individ-\\nuals in ten minutes. My fortune s made. (Comes., c.)\\nPlumpface (jumping up), O, doctor (cough), my\\ncough\\nOldbuck (jumping up). Dear doctor, my foot 01\\nPlumpface, Please attend to me first. (Cough,)\\nOldbuck. No, I arrived first, and claim your attea-\\n^icll first.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0261.jp2"}, "262": {"fulltext": "256 THE DUCHESS OF DUBLIN.\\nPlumjpface, It s a lie. I sent an hour ago. {Cough.)\\nOldhucJc. He s a humbug. That cough s heredi-\\ntary.\\nPlump/ace. You villain {Shakes fist at Old*\\nBUCK.)\\nOldhucJc, You swindler {Shakes fist at Plump*\\nFACE.)\\nDr. A, {stepping hetioeen them). Gentlemen, be calm,\\n*Tis the proud boast of medical science that it can settle\\nall difficulties, mental as well as physical. You need my\\naid but such are the claims upon my time that I can-\\nnot, without doing injustice to my numerous patients,\\nattend to you at present. Give me your address, and I\\nwill call upon you at the earliest possible moment.\\nOldhuck, I am Squire Oldbuck.\\nDr. A. {aside). The rich squire good!\\nPlump/ace. And I am Peter Plumpface. {Cough.)\\nDr. A, {aside). The great manufacturer good!\\nOldhuck, I can pay handsomely.\\nPlumpface, I can pay liberally.\\nDr, A, Gentlemen, you shall receive my early atten-\\ntion. You will pardon me, but I have a patient in the\\nhouse who requires my immediate attention.\\nOldhuck {aside), The Duchess of Dublin.\\nPlumpface {aside). The Dublin duchess. {Cough.\\nAloud.) My dear doctor, I have heard of your skill.\\nMay I depend upon you\\nDr. A. At. the earliest possible moment.\\nOldhuck. You will give me early attention\\nDr. A. Immediate.\\nOldhuck. Then I ll hobble home at once. Good day,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0262.jp2"}, "263": {"fulltext": "THE DUCHESS OF DUBLIN. 257\\nioctor. (Aside.) Wheu old Plumpface is out of the\\nway, ni slip back again. [_Exit, L.\\nPlunipface {coughs). I know your skill, doctor {cough^)\\nand shall depend upon you. Good day. (Cough. Aside.)\\nril come back and quicken his memory when Oldbuck ia\\nout of sight. \\\\_Exit., L.\\nDr. A. (ruhhing his hands). Ha, ha that s a capital\\njoke. Dr. Aconite, poor physician, turns two of the\\nrichest men out of his office to w^ait his pleasure But\\nthat s the right way. Twill never do to be too anxious.\\nEgad they re rich acquisitions for, though I have\\nnever met them, that cough and that gouty foot have\\nbeen the rounds of the medical fraternity. Wonder how\\nthey happened to drop in upon me No matter I can\\ncure them both in time. Ah, Time, you are the doctor s\\nbest friend, for you pay as you go. Luck s come at last,\\nand that imaginary dinner shall be a real, substantial\\nfeast, to mark the day when Dr. Aconite took his first fee.\\nEnter Shakpset, l.\\nSharpset. Heow d ye dew. You re Dr. Aconite, I\\nreckon\\nJDr. A, I am.\\nSharpset, Jes so. Wall, Fm Silas Sharpset, E. s. q.,\\nrho founder and proprietor of the Excelsior Perambu-\\nlating Museum of Wonderful, Whimsical, Extraordinary,\\nand Eccentric Living Curiosities.\\nDr. A. Indeed\\nSharpset, Jes so. You ll find in my wonderful col-\\nloction studies of human nater in every variety. The\\nremarkable and only original living fat girl, seven years\\n17", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0263.jp2"}, "264": {"fulltext": "258 THE DUCHESS OF DUBLIN.\\nof age, who has attained the enormous weight of seven\\nhundred and seventy-seven pounds by a daily diet of mo-\\nlasses candy and gum drops.\\nDr, A, Remarkable, indeed\\nSharpset, Jes so. Also, the only real living skele-\\nton, aged thirty-nine, weight seventeen pounds and three\\nounces, who lives on oatmeal gruel, eaten by the spoonful,\\nonce Iq forty-eight hours, who kin crawl through a stove-\\npipe of six inches diameter, and dance the Cachuca in\\na quart measure.\\nDr. A. Ah, that s too thin.\\nSharpset, Jes* so. Then there s the man born with-\\nout either arms or legs, who can lift a hogshead with his\\nteeth, and write a remarkably legible hand with his back\\nhair, which he wears in a cue for that purpose.\\nDr, A, Cue-rious, indeed.\\nSharpset, Jes so. Then there s the bald-headed\\naccountant, with his head so full of figures that he can\\nrun up the longest account in no time, and, by the force\\nof his stupendous intellect, make the sum total appear in\\nround figures, visible to the naked eye, on the top of his\\nhead.\\nDr. A. A calculating baldhead.\\nSharpset. Jes so. But the assortment is too numerous\\nto mention. I kin only say, that for variety, versatility,\\nand invention, this collection is unsurpassed, and kin be\\nseen in all its beauty for twenty-five cents a head.\\nBr. A. Well, sir, what is your business with me?\\nMy time is precious.\\nSharpset. Jes so. Wall, then, to come to the p int.\\n^Tou ve got a nat ral living curiosity, and I want it.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0264.jp2"}, "265": {"fulltext": "THE DUCHESS OF DUBLIN. 259\\nDr, A, I ve got a curiosity So I have a curiosity\\nto know what you meaa.\\nSharpset, Jes so. Mighty secret, but it s no use,\\n-loctor it s all over town. You ll have to give in, so you\\nmight as well make the best terms you kin with me, for\\nI ve greater facilities for exhibiting the critter than any\\nother live man. Jes so Silas Sharpset, E. s. q., can t\\nbe beat.\\nDr. A, Exhibiting the critter, Mr. Sharpset? There s\\na wildness in your eye that betokens insanity. You are\\nlaboring under a wild hallucination. Go hence. Soak\\nyour feet, wrap a wet towel round your head, and return\\nto your couch at once.\\nSharpset, Jes so. Keep it up, doctor. But it won t\\nfool me. The critter s here. Turn her over to me, bag\\nand baggage, and I ll pay you a thousand dollars down.\\nDr\u00c2\u00bb A. A thousand dollars you ll pay me Be\\ncalm, my friend, be calm. You betray unmistakable\\nsymptoms of a disordered mind. Will you oblige me\\nwith a little explanation?\\nSharpset. Jes so.\\nDr. A. Who is the critter that you are in pursuit\\nof?\\nSharpset, The duchess, of course. Why, consarn it,\\nit s all over town.\\nDr, A. The duchess? Ah, yes, poor man, lunacy\\nalways takes high flights. Ah, who is the duchess\\nSharpset, Jes so. Doctor, do you see anything of a\\nverdant hue in this optic (Finger on left eye,) It s no\\nuse. The Duchess of Dublin is in this house is un-\\nder your charge. Now do the handsome thing. I ll put", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0265.jp2"}, "266": {"fulltext": "260 THE DUCHESS OP DUBLIN.\\nher up as an extra attraction, charge double price, and\\ndivide profits. There s an offer.\\nDr. A. By doubling your price on The Duchess of\\nDublin Now, you must excuse the question, but who\\nis The Duchess of Dublin and what have I to do\\nwith The Duchess of Dublin\\nSharpsct. Corisarn it, mister, are you a fool?\\nDr, A, Now gently, friend. Be calm, be calm.\\n{Aside,) O, he s very crazy\\nSharpset. Humbug Will you, or will you not, ac-\\ncept my offer? Half profits for the duchess. Sharp s\\nthe word Quick, or you lose it\\nJDr. A, My dear friend, it wouldn t hurt you to lose\\na little blood. My lancet s handy.\\nSharpseL Jehoshaphat do you take me to be an\\nidiot?\\nDr. A, You d better go home. Your wife and chil-\\ndren are expecting you. No doubt the little folks are\\nchanting, with their childish voices, Dear father, dear\\nfather, come home.\\nShaipseL Jes so. You can t pull wool over my\\neyes, doctor. Silas Sharpset is sharpset by name and\\nsharpset by nater. You can t fool me. You ve got a\\nprize, and want to keep it for yourself; but if I don t set\\nthe populace howling round your door, and make you\\nshow up the duchess, then you can shave my head, and\\nlock me up for life. No monopolies here in living curi-\\nosities while Sharpset s around not if he knows it\\njes so. [Exit, L.\\nDr, A. He s gone home, I hope. He s very mad.\\nWhy don t his friends take care of him. It s dangerous", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0266.jp2"}, "267": {"fulltext": "THE DUCHESS OF DUBLIN. 261\\nto let a man run round with such horrid ideas as aro\\nrambling through his brain. The fat girl, the living\\nskeleton, the bald-headed accountant, and ^The\\nDuchess of Dublin. Pon my word, the idea of my\\nhaving under my charge a duchess O, it s absurd. The\\nman s crazy he must be looked after Til follow him\\n{takes hat), and see that he does no damage. (Goes to\\ndoor, L.)\\nEnters, suddenly, Miss Abigail Alllove, with a large\\nhook under her arm. Seizes Dr. Aconite hy arm, and\\ndrags him down, o.\\nAbigail {mysteriously). You are are you or am\\nI mistaken\\nDr. A. Eh? You may be right, you may be wrong,\\nor you may be mistaken.\\nAbigail. You do not answer me and I, poor lone or-\\nphan that I am, tremble in your presence.\\nDr. A. Eh? Are you often alone? Miss, or madam,\\nlet s drop this nonsense. Have you any business with\\nme? I am Dr. Aconite.\\nAbigail. You are the friend of the unfortunate the\\nguide of suffering humanity to havens of rest; the\\nhealer of broken hearts the finger-post that points the\\nway to the mansion of health. O, human angel, list\\nto my woes.\\nDr. A. Madam, or miss, I shall be happy to aid you\\nwith my professional skill.\\nAbigail. Professional skill? Avrsy with it. I svauJ\\nit not. I want sympathy, friendship, love.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0267.jp2"}, "268": {"fulltext": "262 THE DUCFIESS OF DUBLIN.\\nDr, A. Ah, indeed. Then I m sorry I cannot help\\nyou. They are not in my line.\\nAbigail, List to a tale of grief. At the age of four 1\\nlost my mother, at the age of ten my father, at the age\\nof lifteen my sister, at twenty my only brother, at twenty-\\nfive my uncle, at thirty\\nI/r. A. O, stop, stop, stop Spare me. 1 didn t\\nkill them. I haven t been in practice a year. You must\\nsee I had no time for such slaughter.\\nAbigail, I am alone in the world. No relatives, no\\nfriends, no one to love, only this. (^Shows hook.)\\nDr. A. And pray what is that?\\nAbigail. A treasure millions could not buy. A pearl\\nof matchless value my life, my friend, my love my\\nautograph album.\\nDr. A. O, indeed, is that all And you want my\\nautograph? With the greatest pleasure. {Attempts to\\ntake book.)\\nAbigail. Away Do not profane it with your touch.\\nNone but the noble stain its spotless pages.\\nDr. A. Ah, indeed Pardon ray presumption.\\nAbigail. No, only the divine wielders of the pen, the\\nclassic movers of the artistij brush, the noble toilers\\nwith the gracing chisel, the seraphic sons and daughters\\nof song, kings, emperors, queens, the high-born and the\\ngreat can dot their i s in Abigail Alllove s autograph\\nalbum.\\nDr. A. Decidedly select.\\nAbigail (opening book). Behold the autograph of the\\nEmperor of China,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0268.jp2"}, "269": {"fulltext": "THE DUCHESS OF DUBLIN. 263\\nDi\\\\ A, {reading). Will you come and take tea in\\nthe arbor. Te he Ah, did you te-ease him for that?\\nAbigail, The name of the Emperor of the French.\\nDr. A. (reading), Put out the light, and then put\\nNapoleon. Which he did. Very good.\\nAbigail. The Queen of Sheba.\\nDr. A. (reading). Anything on this board for tea\\ncents. Saloma. Attentive to business, very.\\nAbigail. Dr. Livingstone.\\nDr, A, (reading),\\nOn, Stanley, on,\\nWere the last words from Livingstone.\\nOriginal, very.\\nAbigail. Joshua Billings.\\nDr. A. (reading), Duz time fli in fli time? Josh\\nBilliags. That s a very bad spell.\\nAbigail. Alfred Tennyson.\\nDr. A. (reading),\\nWhen I can shoot my rifle clear\\nTo pigeons in the skies,\\nI ll bid farewell to pork and beans,\\nAnd live on pigeon pies.\\nA* Tennyson.\\nAbigail, Exquisite poet\\nDr, A, I admire his taste.\\nAbigail, Now, dear doctor, I would add one other\\nname tc my valuable collection. You can aid me. Will\\nyou O, say you will will you and take the burden\\nfrom tha heart of a lone orphan.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0269.jp2"}, "270": {"fulltext": "264 THE DUCHESS OF DUBLIN.\\nDr. A. Madam, or miss, I should be very happy to\\nassist you\\nAhigail, 0, rapturous answer 0, noble disciple of\\n^sculapius The lips of the lone orphan will bless you\\nthe tears of the lone orphan shall bless you the smiles\\nof the lone orphan\\nDr, A, Be calm, be calm. In what way can J\\nassist you?\\nAbigail. You have beneath your roof a noble lady\\nBr. A. Eh?\\nAhigail. From a foreign clime. You hold her here\\nin secret. Let me but get her name in my autograph\\nalbum, and Abigail AlUove will die happy.\\nDr. A. Noble lady? (Aside.) Another lunatic.\\nAhigail. Yes, the name of The Duchess of Dub-\\nlin.\\nDr. A. The dickens Stark, staring mad. My\\ndear young lady, you are laboring under a hallucination.\\nGo home at once. Call your friends.\\nAhigail. Alas I have no friends. Did I not tell\\nyou I am a lone\\nDr. A. Yes, yes but call in the neighbors, the\\nkind neighbors\\nAhigail. But the duchess I must see the duchess.\\nThe hopes, the fears, the life of a lone orphan\\nDr. A, Lone orphan, go home let me alone. 1\\nhave no duchess, know no duchess. You are deceived.\\nNo, no, dear, go home.\\nBe it ever so humble, there s no place like home.\\nAbigail. O, you wretch You mean, contemptible", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0270.jp2"}, "271": {"fulltext": "THE DUCHESS OF DUBLIN. 265\\nquack. You have read my album, my precious volume,\\nand now refuse my request.\\nDr. A. But, my dear young lady\\nAbigaiL Don t come near me You ve broken the\\nheart of a lone orphan. You re a base, ungrateful,\\nugly, miserable pill-box and I hope you ll never live\\nto own an autograph album there \\\\_Exit^ l.\\nDr, A, Good by, lone orphan. Now there s a case\\nthat requires immediate attention. Poor thing I\\nought not to have let her go until her friends appeared.\\n(^Enter Dennis, l. Stands in door^ hecJconing to Dr.\\nAconite.) Hallo who s that\\nDennis {mysteriously). Sh sh {Creeps down^ c,\\nbeckoning to Dr. Aconite.)\\nDr. A. Well, what is it?\\nDennis. It s all right, docther, it s all right.\\nDr. A. Well, I m glad to know that, at any rate.\\nDennis. Yis, I ll not brathe a word. It s from the\\nowld counthry I am.\\nDr. A. That s very evident.\\nDennis. An it s mysilf that would give the worrld to\\nsit my two eyes on her. Now, docther, it s a lone\\nwiddyer I am, an would ye s go for to do me a kind-\\nness?\\nDr. A. To be sure I would.\\nDennis. Hiven bliss ye Thin fich her out. Let me\\nfaist my eyes on her beautiful face, her illigant, dignified\\nfigure. Let me kiss the him of her magnificent dress,\\nand hear her swate voice spake the brogue of the gim\\nof the say.\\nDr. A. What are you talking about? Who do you\\nwaut to see", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0271.jp2"}, "272": {"fulltext": "266 THE DUCHESS OF DUBLIN.\\nDermis^ You kuow will what I mane her grace^\\nthe noble, moigbty, illigant Duchess of Dublin.\\nDr. A. What? The Duchess of Dublin? Out\\nof my house at once, or I shall do you an injury.\\nDennis. Faix, you don t mane it. Rob an Irishman\\nof his right to pay his rispicts to a high-born lady uv hia\\nown couuthry?\\nDr. A. Do you see that door?\\nDennis. Faix, I m not blind.\\nDr. A. Then get the other side of it at once. (^TaJcea\\ncane.) I ve had enough of The Duchess of Dublin.\\nDennis. Is that so Thin I m the b y to take her off\\nye s hands.\\nDr. A. Will you leave this house?\\nDennis. To be sure I will, afther I ve seen her grace\\nDr. A. {I ushes at him with cane). O, you will have\\nit will you\\nDennis {hacking to door). Aisy, docther I want\\nnone uv ye s medicine. But I ll say the duchess, so I\\nwill, wid ye s lave or widout it. \\\\_Exit^ L.\\nDr. A. Has the whole village gone crazy? or is this\\nsome infernal plot to drive me into hopeless lunacy\\nPlumpface coughs outside^ then enters^ l.\\nPlump/ace. Doctor {cough) I thought you were com-\\ning to {cough) see me?\\nDr. A. I ll be there in half an hour, Mr. Plumpface.\\nBusiness of a very serious nature has detained me here.\\nFlump/ace. Yes {cough) I know. She kept you.\\nDr. A. She Who do you mean?\\nFlump/ace. O {cough) it s all right, doctor. I m la", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0272.jp2"}, "273": {"fulltext": "THE DUCHESS OF DUBLIN. 267\\nthe secret. (Cough.) Vve seen her; spite of her dis-\\nguise, I knew her at once. (Cough.)\\nDr, A, Knew her at once? TTho, pray?\\nFlumjyface. 0, you sly dog {Cough.) The duchess.\\nDr. A. Heavens and earth! She here again?\\nFlumpface. She hasn t been away has she?\\n(^Coicgh.)\\nDr, A. Look here, Plumpface. Go home, quick!\\nGo to your room, get into bed, and don t stir until I get\\nthere.\\nPlumpface. What s the matter now\\nDr. A. Your case has taken a serious turn. You\\nare going to get rid of that cough. It s going to your\\nhead. You will be mad.\\nPlumpface. Mad You don t say so What a horri-\\nble idea Tm afraid you re right. I haven t coughed\\nfor three minutes. O, doctor, is there no hope?\\nDr. A. Don t stop to talk. Get home at once.\\n(Pushes him out of door^ l.) Run for your life. How\\nhe goes The exercise will do his lungs good but his\\nhead, poor fellow He s got the duchess fever.\\nEnter Oldbuck, l.\\nOldbuck. I say, doctor, what s the matter with\\nPlumpface? I met him, running. Is there a fire any-\\nwhere?\\nDr. A. Yes, very near him in his head. It has\\nbeen turned.\\nOldhuch. You don t say so. By what, pray?\\nDr. A. By The Duchess of Dublin.\\nOldhuch. Egad she s enough to turn anybody*!\\nhead. But I say, doctor, how is she", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0273.jp2"}, "274": {"fulltext": "268 THE DUCHESS OF DUBLIN.\\nDr. A. What?\\nOldhuch. I m mightily interested in her. How s she\\ngetting along? I ve seen her, too.\\nDr. A. O, this is too much. Oldbuck, look at that\\nfoot.\\nOldhuch. What s the matter?\\nDr. A. It s swelling fearfully. A dangerous symp*\\ntorn. It must be kept down. {Steps on Ms foot.)\\nOldhuch. 0, murder Confound you, what are you\\ndoing\\nDr. A. Keeping down the swelling. {Steps again,)\\nOldhuch. O Do you want to murder me\\nDr. A, {steps again. Oldbuck avoids Mm, and runs\\nround stage, crying out). I tell you, there s no other\\nway. {Steps.) Get home, quick {Steps.) Quick\\nIf the swelling continues {steps) twill reach a vital part.\\n{Steps.) Go home (Oldbuck runs out^ l., crying out.)\\nHe s gone. No more practice to-day. {Lochs door.)\\n0, that infernal duchess She s nearly driven me mad,\\nmad, mad {Sinhs into chair.)\\nEnter Annie, b.\\nAnnie. O, brother, what does it all mean? The yard\\nis filled with people.\\nEnter Maggie, r., with hroom.\\nMaggie. And the fince is covered wid bys, roosting\\nloike so many bins. I ll have them off, jist. {Goes^ l.)\\nDr. A. Stop Don t open that door. My life s in\\ndanger if you open that door. {Shouts outside, Mil\\nhi I The duchess I the duchess I O, Lord the whol#", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0274.jp2"}, "275": {"fulltext": "THE DUCHESS OF DUBLIN. 269\\nvillage has got it and got it bad. O, Annie, if you\\nlove me, sead for Dr. Allopath, send for Judge Busted,\\nor I am completely busted.\\nAnnie, Brother, are you sick? What does this\\nraean?\\nEnter Fkank and Lucy, r.\\nFrank, It means fame, fortune. O, it s glorious\\nDr. A, Glorious to have your front yard filled with\\na howling, yelling pack? Hear that. (Shouts outside^\\nHi! hi I The duchess 1 the duchess I\\nFrank. O, that s all right.\\nDr. A, {jumping up). All right And perhaps twas\\nall right when I saw you a half hour ago with your arms\\naround my affianced bride.\\nAnnie. You did? O, Frank, how could you?\\nFrank. It s all right, I tell you. (Shouts outside, as\\nhe/ore.) I can explain. But, in the mean time, we ve\\nwork before us. Here, Lucy, just throw that cloud around\\nyour head so your eyes alone will be visible. (She does\\nso.) That s good. Now, doctor, give Lucy your arm.\\nDr. A. But I would like to know\\nFrank. So you shall. In the mean time unhesitat-\\ningly obey me. Your professional reputation is at stake.\\nGive Lucy your arm, go up stairs, open the window, step\\nout upon the balcony, and gracefully bow to the assem-\\nbled people. (Shouts as before.)\\nDr. A. Yes, but this proceeding\\nLucy, Is strictly proper. Depend upon it, Adam,\\nthere is no other way.\\nDr. A, If there is no other way, will you be kind\\nenough to tell me what this way is?\\nLucy. Right up stairs. Come.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0275.jp2"}, "276": {"fulltext": "270\\nTHE DUCHESS OF DUBLIN.\\nPon my sowl, is it the prisident?\\nThe crowd is breaking up. {Knock\\nat\\nDr, A. But what is it about?\\nLucy, About time we were up stairs so coma\\nalong. [Exit^ Dr. Aconite and I^ucy, r.\\nAnnie. Now, Mr. Frank Friskej, I should like to\\nknow\\nFranh. Hush I {Goes to door, l. Shouts as before,)\\nI hear them above. Now he opens the window. Good,\\n{Outside shouts, Hurrah I hurrah 1 hurrah T Splen-\\ndid\\nAlice. Will you oblige me {Outside shouts^ Hur^\\nrah I hurrah I hurrah\\nFrank. Good, good Ah, now he s shutting the\\nwindow.\\nMaggie.\\nFrank,\\ndoorj L.)\\nEnter Dr. Aconite and Lucy, r.\\nDr, A. Will anybody, male or female, be kind enough\\nto look in my face, and tell me if I am Adam Aco-\\nnite, or if I am not Acom Adamite.\\nFrank. Til be back in a minute. {Runs off^ R.)\\nMaggie. Sure it s the most mysterious mystery that\\niver took place. It bates the deluge, sure. {Knock at\\ndoor^ L.)\\nLucy. Shall I open the door, doctor\\nDr, A, No yes don t mind me. I m not myself.\\nI m out of my head. I m mad, mad, mad {Sinks\\ninto chadr.)\\nAnnie. O, brother isn t this terrible? {Knock, L.)\\nMaggie, Bedad, there ll be a breakdown at that door,\\nV I m mistaken. {Opens door. Oldbuck, Sharpset,", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0276.jp2"}, "277": {"fulltext": "THE DUCHESS OF DUBLIN. 27\\\\\\nP1.UIIPFACE, and Dennis tumhie in on floor.) Trctb, 13\\nthat a pelite way to inter the house? {They pick t) 9 \u00c2\u00bbn^\\nselves up,)\\nOldbuck, Introduce me, doctor.\\nPlump/ace. No me first, doctor.\\nSharpset I ll hold to mj bargain.\\nDennis. Presint me, docther.\\nMaggie {swinging her broom round her head). Shoo\\nAway wid ye s Don t you say the docther s sick\\n{They fall hack.)\\nDr. A. {rising). Gentlemen, I am at your mercy\\nAn hour ago I was the possessor of a noble intellect.\\nNow, I am like the reed shaken by the blast. To whom\\nshall I pcesent you\\nOldhuck, Flump/ace^ Sharpset^ Dennis. The Duch-\\ness of Dublin.\\nDr. A. Monsieur Tonson come again. {Sinks into\\nchair.)\\nMaggie. The Duchess of Dublin. O, be aisy wid\\nyer nonsinse. Sure there s nobody here that answers to\\nthat name at all at all.\\nEnter Frank, r.\\nFrank. No, because her grace has just been driven\\naway in her own carriage. I had the honor of bringing\\nher here I have had the honor to conduct her from thig\\nplace, and to receive her thanks for the able manner in\\nwhich she has been treated by Dr. Aconite.\\nDr. A. {comes down, c). Have you been taken, too,\\nFrank Alas poor fellow\\nFrank. O, it s all right Listen to me. Annie I", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0277.jp2"}, "278": {"fulltext": "272 THE DUCHESS OP DUBLIN.\\nLucy (Beckons to them. They come down^ c. Oldbxtck,\\nPlumi Face, Sharpset, and Dennis come down,) Your\\npardon, gentlemen, a little family secret.\\nMaggie {swings her broom around her head). Shoo!\\nYe are trespassing, d ye mind! {Tliey retire.)\\nFrank. Doctor, for all the trouble you have endured\\n(o-day, I, and I alone, am to blame. We are all in*\\nterested in your success, and, to insure that success,\\nLucy and I put our heads together.\\nDr. A. And your arms about each other -r\u00e2\u0080\u0094 yes.\\nFrank. And concocted a scheme which has succeeded\\nadmirably. (Oldbuck, Plumpface, Sharpset, and\\nDennis look at each other then stealthily ajoproach^ c.)\\nMaggie (flourishing broom). Shoo! Away wid ye s\\nHave ye s no manners, ye hathens?\\nFrank. You have your hands full of patients now,\\nfrom the fact that it has leaked out that you had under\\nyour charge a high-born lady. You know that one good\\ncustomer will attract others. Your success is assured,\\nand our happiness, I trust, not in the distance, as it ap-\\npeared to be an hour ago.\\nDr, A. And you have deceived the trusty public,\\nand given me position by a lie.\\nFrank. No, for The Duchess of Dublin is still\\nunder your roof. Have you forgotten the title I gave to\\nMaggie and she certainly was your patient.\\nDr. A. I never thought of that, Frank. I owe you\\nmuch. But if ever you attempt another such trick-\\nFrank. But I shan t. This one will give me a wife\\n{takes Annie s hand), and there will be no more miS\\nchief in me.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0278.jp2"}, "279": {"fulltext": "THE DUCHESS OF DUBLIN. 27S\\nDr. A, Lucy, what have you to say for yourself\\nLucy. O, I m delighted. It brings our wedding 3ay\\n80 much nearer.\\nDr. A. Well, I suppose I must be satisfied then.\\nGentlemen {all come down R. and l.), I have rather\\nneglected my business to-day, but, having such a mys-\\nterious patient, I think you will pardon me. I intend,\\nin the future, to give my attention strictly to village\\npractice.\\nOldbuck. It s all right, doctor. I m proud to have\\nas my physician a gentleman who has been the medical\\nattendant of so distinguished a personage.\\nFlump/ace. Yes, indeed, you ve sent my cough off in\\na hurry, just by your advice; and if you can keep it\\nfrom my head\\nDr. A. No fear, Mr. Plumpface. I ll cure your\\nhead in short order.\\nSharpset. Say, doctor, can t you give me the address\\nof the lady? I ll make her a splendid offer to take a\\nposition in my Living Curiosity Gallery.\\nDr. A. No, that would be betraying profound\\nsecrecy.\\nDennis. Sacrecy, is it? Be jabers, it s no sacret\\nthat she s gone. Ye ve a sthrong lift in the profes-\\nsion, and I ve a mind to engage ye s to docther the\\nnine childer, if ye ll make the fays conform to the\\nsize uv thim.\\nEnter Abigail, l.\\nAhigaiL And has she gone? and am I bereft of\\nher autograph O, cruel doctor to so basely deceive\\na lone orphan\\n18", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0279.jp2"}, "280": {"fulltext": "27 -k THE DUCHESS OF DUBLIN.\\nDr. A. Now dou t Say no more about it, my\\ndear miss madam. It was a mistake. If you will\\npardon me, I will endeavor to obtain for you the au-\\ntograph of the king of the Cannibal Islands, in red\\nink, made from the blood of a missionary.\\nAligail, Will you? O, then I forgive you, with all\\nmy heart.\\nDr. A. (to audience). Ladies and gentlemen, you\\nhave witnessed the success of Dr. Aconite during the\\nlast half hour in obtaining patients. It may possibly\\noccur to you that they have been obtained by false pre-\\ntences. But am I to blame? Maggie, come here.\\n(Maggie comes down l. of Dr. Aconite.) I am\\nseeking patients, and want a good recommendation.\\nVfhat can you say for me?\\nMaggie. Sure, ye s the illigant docther, so ye are,\\nan it s a plisure to be sick wid the chance of being\\ncured or kilt by the loikes uv ye s.\\nDr. A. You hear what she says. Can I hope for\\nyour support? Will you become my regular patients?\\nIf you will, it shall be my endeavor to serve you\\nwell and you know I can bring a high recommenda-\\ntion from no less a personage than her grace, The\\nDuchess of Dublin.\\nSituations.\\nR. Lucy. Dr. Aconite. l\u00c2\u00ab\\nAnnie. Maggie.\\nFrank. Abigail.\\nOldbuck. Sharpset.\\nDennis. Plumpfac\u00c2\u00bb\u00c2\u00bb\\nCURTAIN.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0280.jp2"}, "281": {"fulltext": "Hlways Get the Best. 50 of the Choicest Selections in the\\nM\\nEeading Oliib and Handy Speakef\\nEdited by George M. Bafer,\\nPrice, cloth, 50 cents; paper, 16 cents,\\nCONTENTS.\\nThe Red Jacket o c\\nOld Age .CO...\\nVlahmoud\\nThe Closet Scene from Hamlet\\nEIow he saved St. Michael s\\n\u00e2\u0096\u00a0Samson\\nThe Story of the Bad Little Boy who\\ndidn t come to Grief.\\nSir. Caudle and his Second Wife\\nTauler\\nThe Doorstep o e\\nOld Farmer Gray gets photographed\\nMr. O Gallagher s Three lloads to\\nLearning c\\nThe Jester s Sermon\\nThe Boofcr Lady c\\nDciiance of Harold the Dauntless e\\nBattle Hymn\\nThe Story of the Faithful Soul\\nCurfew must not ring To-Night\\nThe Showman s Courtshij)\\nHow Terry saved his Bacon\\nThe Senator s Pledge\\nOve.l^hrow of Belshazzar\\nThe Hour of Prayer\\nThe Squire s Story o\\nThe Happiest Couple\\nGodiva o\\nFarmer Bent s Sheep-Washing\\nThe Deutsch Maud Muller\\nCharles Sumner c\\nThe Brickla\\\\ ers\\nA Stranger in the Pew\\nThe Mistletoe-Bough c\\nThe Puzzled Census-Taker\\nThe Voices at the Throne\\nHans Breitmann s Party\\nHob Hoy MacGregor\\nOer Drummer\\ni ne Yankee and the Dutchman s Dog\\np. \u00c2\u00abpi- inij the Question\\nTh j oumpkin s Courtship\\nTil Happy Life\\nAt I he Soldiers Graves c\\n)b()dy there\\nriie Fiictory-Girra Diary\\ni\\\\\\\\ the Tunnel o\\nJones o c\\nT ie V7histler\\nGood and Better*\\n,T:tkie on Watermelon Pickle\\nTl). \u00c2\u00bb:d Methodist s Testimony\\nSoid hy all booksellers and newsdealers, and sent by mail, postpaid, on\\nreceipt of pnce,\\nHEE SHEPAFJn. P ublishers, Boston.\\nGeorge M, Bakm,\\nLeigh HunU\\nAldine,\\nMark Twain*\\nDouglas Jerrold^s FireHde Sa^ntk\\nWhittier,\\nE. C. Stedman*\\nJohn H. Yates.\\nCapt. Marryat,\\nWalter Thornhury.\\nDickens s Mutual FriendJ^\\nScott,\\nKorner.\\nAdelaide Procter-\\nEosa Hartwick Thorpe.\\nArtemus Ward.\\nCharles Sumner.\\nBarry Cornwall-.\\n3Irs. Remans.\\nJohn Phoenix,\\nSheridan.\\nTennyson.\\nCarl Pretzel.\\nCarl Schurz^\\nG. H. Barnes,\\nHarpeT s Mag.\\nBayley.\\nJ. G. Saxe.\\nI. Westwood,\\nCharles G, LelaftdL-\\nWalter Scott\\nCharles F. Adams.\\nSir Henry Wotton.\\nRobert CoLlyer.\\nAnonymoLifi.\\nMorton.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0281.jp2"}, "282": {"fulltext": "Ton wflf find one of ybur Favorftes among 50 of the Choiettl\\nSelections in the\\nM\\nReading Olub and Handy Speakar\\nEdited by G-eokge M. Baker.\\nPrice, cloth, 50 cents; paper, 15 cents*\\nco:n teis ts.\\nThe Rescue\\nThe PickwicMans on Ice\\nA Picture\\nTohe s Monuu^ent\\nThe Two Anchors\\nThe Old Ways and the New\\nBy the Alma River\\nTrial Scene from. Merchant of Venice\\nThe Sisters\\nB arm-Yard Song\\nThe Fortune-Hunter\\nCuring a Cold\\nIn the Bottom Drawer\\nTwo Irish Idyls\\nOver the Ri^er\\nThe Modest Cousin\\nBiddy s Troubles\\nThe Man with a Cold in his Head\\nHarry and I\\nThe Shadow on the Wall\\nThe Little Puzzler\\nA Traveller s Evening Song\\nCalling a Boy in the Morning\\nCooking and Courting\\nA Tragical Tale of the Tropics\\nThe Paddock Ehns\\nThe Bobolink\\nToothache\\nThe Opening of the Piano\\nPress On\\nThe Beauty of Youth\\nQueen Mab\\nA Militia General\\nAddress of Spotty ens\\nOur Visitor, and what he came for\\nWhat s the Matter with that Nose?\\nWorkers and Thinkers\\nThe Last Ride\\nBaby Atlas\\nPossession\\nThere is no Death\\nThe Learned jSTegro\\nNearer, my God, to Thee\\n4 Short Sermon\\n9-oin Home To-day\\nThe Broken Pitcher\\n3l Baby s Soliloquy\\nChe Double Sacrifice\\niunday Morning\\nfhe Quaker Meeting\\nJohn BrownjohfU\\nDickens.\\nMrs. H. A. Bingha 8^\\nElizabeth Kilharru\\nR. H. Stoddard.\\nJohn H. Yates,\\n3Iis3 JTiiloch.\\nShakspeare.\\nJohn G. Whittier,\\nJohn G. Saxe^\\nMark Twain.\\nAlfred Perceval Oram^\\nPriest.\\nSheridan Knowlea^\\nSarah 3L B. PkOL\\nMrs. Ifemans,\\nTom to 27 ed*\\nB. E. Wool/\\nAldine.\\nAtlantic Monthly,\\nPark Benjamin.\\nTheodore Parker,\\nRomeo and JulieL\\nThomas Corwin.\\nOur Fat Contribuior,\\nRuskin.\\nNora Perry.\\nOwen Meredith,\\nSir E. Bulwer Lytton*\\nCongregationalist.\\nSarah F. Adams.\\nNot by a Hard-Shell Bmptt^\\nW. M. Carleton.\\nAnonymous.\\nArthur William Austin^\\nGeorge A. Baker, jun.\\nSamuel Lover.\\nWd.by all booksellers and newsdealers, or sent by mail on receipt oj fS0\\nIrAE Sc SHKPARD, Publishers, Bostoi", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0282.jp2"}, "283": {"fulltext": "You will find the Piece you are looking for among 60 of the Choicest\\nSelections in the\\nNo.3\\nReading Olub and Handy Speaker-\\nEdited by George M. Baker.\\nPtncet cloth, SO cents; paper 13 cents.\\nCONTENTS.\\nFra Giacorao Robert Buchanan.\\nBob Cratcbit s Cbristmas-Dinner Dickens.\\nThe First Snow-Fall James Russell LowelL\\nrh\u00c2\u00ab Countess and tbe Serf\\nA.iirelia s Unfortunate Young Man\\nLosses\\nMad Luce\\nThe Solemn Book-Asent\\nmiat the Old Man said\\nBone and Sinew and Brain\\nPat and the Oysters\\nTwilight\\nThe Singer\\nSpeech of the Hon Pe\u00c2\u00abTe\u00c2\u00abe r e/\u00c2\u00bbbodf on\\nthe Acquisition of Cul- a\\nBunker Hill\\nTwo Births\\nThe Old Fog Man\\nAuction Mad\\nThe Wedding-Fee\\nSchneider s Tomatoes\\nThe Wolves\\nThe Ballad of the Oystermap\\nThe Deck-Hand and* the Mul*\u00c2\u00bb\\nA Lay of Real Life\\nBiding Down\\nThe Minute-men of 75\\nUncle Reuben s Baptism\\nHow Persimmons took Cah ob der B^b.\\nThe Evils of Ignorance\\nBcenes from the School of Reform\\nAmbition\\nThe Victories of Peace\\nFor Love\\nThe yiower-Mission, junior\\nThe Sons of 2s ew England\\nThe Jonesville Singin Quire\\nThe Last Tilt\\nThe Burial of the Dane\\nAppeal in Behalf of American Liberty\\nThe Church of the Best Licks\\nThe Roman Soldier. Destructio:\\nculaneum\\nTemperance\\nRoast Pig. A Bit of Lamb\\nBimilia Simihbus\\nTwo Loves and a Life\\nThe Recantation of Galileo\\nMosquitoes\\nThe Law of Kindness or, The\\nman s Railway Signal\\nOde\\nfcfr. Stiver s ^rse\\nof Her- i\\nOld Wo- 1\\nJ. Sheridan Knoicles,\\nMark Twain.\\nFrancis Browne.\\nAll the Year Round,\\nDetroit Free Press.\\nAlice Rohhins.\\nJohn Boyle O Reiliy,\\nSpanish Gypsy,\\nAlice Williams.\\nGeorge R. Calvert.\\nCharles J, Sprague,\\nR. J/. Sireeter.\\nCharles F. Adams.\\nJ. T. Trowbridge.\\nOliver Wendell Holmes*\\nTow. Rood.\\nNora Pen^y.\\nGeorge William CurUs-\\nVicksburg Rerald.\\nSt. Nicholas.\\nRorace JIann.\\nThomas Jlo7 ton.\\nRenry Clay.\\nCharles Sumner,\\nEarl Jfarble.\\nRon. George B. LoHng,\\nMy Opinions and Betsey Se^^^^f^m\\nRenry B. Rirst.\\nRen :-y Roward Brownell,\\nStory.\\nEdward Eggleston.\\nAtherstone.\\nWendell P .ilHp8,\\nCharles Lamb,\\nWilliam Swcij^r.\\nFrancis E. ^ale*43h-\\nK.K.\\nElihu Burritt.\\nGeorge Sennoit.\\nThe Danbury Nevot MtM,\\nSM Jy aU booksellers and newsdealers and sent by mail^ vostpnf^\\nreceipt of price.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0283.jp2"}, "284": {"fulltext": "ff you are looking for Something Wev/, yo\u00c2\u00ab will find it amon^\\n50 of the Choicest Seiectlons in the\\nNo.4\\nThe Tramp\\nJoan of Arc\\nPecoration\\nMinot s Ledge\\nScene from The Hunchhack\\nWi elder G-reen s Last Words\\nThe Cane-Bottomed Chair\\nThe House-Top Saint\\nTom o\\nThe Song of the Dying\\nMy Neighbor; s Bahy\\nThe Paper Don t Say\\nThePost-Boy\\nWhat is a Minority?\\nRobert of Lincoln\\nDaddy Worthless\\nZenobia s Defence\\nWilliam Tell\\nMary Maloney s Philosophy\\nCuster s Last Charge\\nMother s Fool\\nThe Little Black Eyed Rebel\\nThe Palace o the King\\nGrandfather\\nBusiness in Mississippi\\nThe Lidian s Claim\\nThe Battle-Flag of Sigurd\\nThe Way Astors are Made\\nMr. Watkins celebrates\\nThe Pahnetto and the Pine\\nPip s Fight\\nCuddle Doon\\nThe Hot Roasted Chestnut\\nBt. John the Aged\\nThe Bell of Atri\\nMr. O Hoolahan s Mistake\\nThe Little Hero\\nThe Village Sewing-Society\\nHe Giveth His Beloved Sleep\\nThe Dignity of Labor\\nA Little Shoe\\nThe Penny Ye Meant to Qi\\nA Question\\nThe Cobbler s Secret\\nThe Lost Cats\\nThe Pride of Battery B\\nLeedle Yawcob Strauss\\nTwo Portraits\\nElder Sniffles Courtship\\nGoin Somewhere\\nReading Olnb and Handy Speaker\\nEdited by George M. Bj^ker.\\nPricCf vlothy SO cents; paper, IS cents.\\nconte:^ts.\\nGeorge 31. Baker,\\nI e Quincey.\\nT. W. Higginson.\\nFitzjames O Brien^\\nSheridan Knowles,\\nThackeray.\\n3Irs. J. D. Chaplin*\\nConstance Fenimoi e Wbolaon\\n3frs. C. J. Bespard,\\nJ. B. Gough.\\nBryant.\\nLizzie W. Champney,\\nWilliam Ware.\\nPhiladelphia Bulletin,\\nFrederick Whittaker*\\nWill Carleton.\\nWilliam 3Iitchell.\\nTheodore Parker.\\nChronicle^ Augusta^ Ga*\\nEverett.\\nJ. 31. Bailey.\\nDetroit Press.\\n3Irs. Virginia L. French^\\nDickens.\\nAlexander Anderson*\\nJ. Ed. 3Iilliken.\\nLongfellow*\\nRev. Newman Halt*\\nF. R. Gassaway.\\nCharles F. AdamSc\\nIT. Quad,\\nScid hy all booksellers and neioffdealers, and sent by mail, postpaid, i\\nreceipt of price.\\nLEE SHEPARD. Publishers, Boston.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0284.jp2"}, "285": {"fulltext": "rhe Freshest, Brightest, and Best, are the 50 Choicest\\nSelections in the\\nNo.5\\nReading Club and Handy Speaker.\\nEdited by George M. Baker.\\nPricey cloth, 50 cents; pap r,y 15 cents,\\nCOXTEiS^TS.\\nThe Ballad of Ronald Clare\\nThe Scotchman at the Play\\nThe Dead Doll\\nA Charge with Prince Rupert\\nAn Irish Wake\\nThe Honest Deacon\\nTact and Talent\\nThe Two Glasses\\nWhistling in Heaven\\nNoble Revenge\\nDot Baby off^Mine. (By peiTQission)\\nThe Amateur Spelling-Match\\nWhy Biddy and Pat got Married\\nArt-Matters in Indiana\\nMiss Edith helps Things along\\nThe Flood and the Ark\\nNot Dead, but Risen\\nBallad of a Baker\\nFive\\nUncle Remus Revival Hymn\\nA Mysterious Disappearance\\nAn Indignation-Meeting\\nSomething Spilt\\nFrom the^ Sublime to the Ridiculous\\ntis but a Step\\nScene from The Marble Heart\\nThe Seven Ages\\nA Watch that wanted cleaning,\\n(By permission)\\nTired Mothers\\nGood-by\\nOne of the Boys\\nThe Bridge\\nA Rhine Legend\\nThe Little Shoes did it\\nBurdock s Goat\\nFaithful Little Peter\\nBlue and Gray\\nMi llie, or Sadie?\\nButterwick s Weakness\\nBetween the Lines\\nSomebody s Mother\\nThe Ballad of Constance\\nFailed\\nThe Canteen\\nA Blessing on the Dance\\nAn Exciting Contest\\nThe Last Redoubt\\nIf We Knew\\nScene from London Assurance\\nThe Kaiser s Feast\\nSideways\\nSold by all booksellers and neic-\\nT/tomfs S. Collier.\\nJ/ajisie Wauch.^\\nMargaret VandegrifL\\nT. W. Higginson.\\nLondon Atlas.\\nHarper s Magazine.\\nCharles Follen A.^lams\u00c2\u00bb\\nEarl Marble.\\nR, H. Stoddard.\\nBret Rarte.\\nCharles Dickem wcick Paper$\\nCharles Selby,\\nShakspeare.\\nJ. T. Fields.\\nFrank Foxcroft.\\nR. TT. Long^e 110^)9,\\nCurtis Guild.\\nWilliam Winter.\\nC. G. Ralpine {Mxk% O BtiUv;\\nImcin Russell.\\nAlfred Austin.\\nBoucicault.\\ndealers, ajid seiit by maily pastpaid^ e^\\nreceipt of price,\\n?-EE k 3HEPARD. Puoiishers^ Boston.", "height": "3887", "width": "2675", "jp2-path": "drawingroomstage00bak_0285.jp2"}, "286": {"fulltext": "10,\\n6\\nThe Best Yet. 50 Rare Selections.\\nReading Olub and Handy Speaker.\\nEdited by George M. Baker.\\nPricet clothf 60 cents paper 16 cents.\\nCO:N TE]SrTS.\\nCount Eberhard s Last Foray Thos. S. Collier,\\nrammy s Prize\\nDeaf and Dumb Anna F. Burnham.\\nThe Changed Cross\\nVirginius to the Roman Army Elijah Kellogg.\\nThe Fountain of Youth Eezekiah Butterworth.\\nThey Met\\nClerical Wit\\nGreeley s Ride Mark Twain,\\nDer Shoemaker s Poy\\nThe Sergeant of the Fiftieth\\nThe Fan Drill Spectator,\\nWarning to Woman\\nThe Cavalry Charge F. A. Durivage.\\nWidow Stebbins on Homoeopathy Charles F. Adams,\\nThe Fight at Lookout B. L. Gary, Jun,\\nThe Well-Digger John G. Saxe.\\nBehind Time Freeman Hunt.\\nA Miracle Charles H. Webber.\\nWeaving the Web\\nThe Great Future George F. Hoar,\\nA Christmas Carol\\nThem Yankee Blankits Samuel W. Small,\\nJim Lane s Last Message Sherman D, Bichardionk\\nOne Touch of Nature\\nA Disturbance in Church Max Adeler.\\nThe Palmer s Vision J. G. Holland,\\nA Sweeter Revenge\\nThe Farmer s Story David Hill.\\nPaddy O Rafther o Samuel Lover.\\nThe Fireman s Prayer Bussell H. ConwelL\\nDown with the Heathen Chinee 2^ew- York Sun,\\nJohn Chinaman s Protest M. F. I).\\nThe Sweet Singer of Michigan\\nTen Years After Kate Putnam Osgood.\\nPutty and Varnish Josh Billings.\\nNationality Bufus Choate.\\nTacking Ship off Shore Walter Mitchel.\\nImmortality Phillips Brooks.\\nMr. Coviile Proves Mathematics t/ M. Bailey.\\nBlind Ned B^in Bussell.\\nThe Benediction Franqois Coppee,\\nConquered at Last Maria L. Eve.\\nThe Ship-Boy s Letter\\nAn Irish Love-Letter George M. Baker.\\nReserved Power\\nTalk about Shooting\\nThe King s Kiss Ffora Perry.\\njoe s Bespeak\\nA Disturbed Parent\\n^old by all booksellers and newsdealers, and sent by mailf postpaid, on\\nreceipt of price.\\nLEE SHEPARDj Publishers. 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