Recitations for the Social Circle. Selected and Original

by Unknown

PAUL REVERE'S RIDE.

BY HENRY WADSWORTH LONGFELLOW.

Listen, my children, and you shall hear,
Of the midnight ride of Paul Revere,
On the eighteenth of April, in seventy-five—
Hardly a man is now alive
Who remembers that famous day and year—

He said to his friend: "If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light;
One, if by land, and two if by sea,
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm."

Then he said "Good-night," and, with muffled oar,
Silently row'd to the Charlestown shore,
Just as the moon rose over the bay,
Where, swinging wide at her moorings, lay
The "Somerset," British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile his friend, through alley and street,
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night encampment on the hill.
Wrapped in silence so deep and still
That he could hear, like a sentinel's tread,
The watchful night wind, as it went
Creeping along from tent to tent,
And seeming to whisper, "All is well!"
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead,
For, suddenly, all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black that bends and floats
On the rising tide like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse's side,
Now gazed at the landscape far and near,
Then, impetuous, stamped the earth
And turned and lighted his saddle-girth;
But mostly he watched, with eager search,
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry's height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight,
A second lamp in the belfry burns.

A hurry of hoofs in the village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark,
Struck out by a steed flying fearless and fleet;
That was all; and yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed in his flight
Kindled the land into flame with its heat.

He had left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides,
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock
When he crossed the bridge into Medford town;
He heard the crowing of the cock
And the barking of the farmer's dog,
And felt the damp of the river's fog,
That rises after the sun goes down.

It was one by the village clock
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock
When he came to the bridge in Concord town;
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.
You know the rest; in the books you have read,
How the British regulars fired and fled;
How the farmers gave them ball for ball,
From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields, to emerge again
Under the trees, at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere,
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the past,
Through all our history to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed
And the midnight message of Paul Revere.

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BY SPECIAL REQUEST.

BY FRANK CASTLES.

A Lady Standing with one Hand on a Chair in a Somewhat Amateurish Attitude.

Our kind hostess has asked me to recite something, "by special request," but I really don't know what to do. I have only a very small repertoire, and I'm afraid you know all my stock recitations. What shall I do? (Pause.) I have it; I'll give you something entirely original. I'll tell you about my last experience of reciting, which really is the cause of my being so nervous to-night. I began reciting about a year ago; I took elocution lessons with Mr. ——; no, I won't tell you his name, I want to keep him all to myself. I studied the usual things with him—the "Mercy" speech from the "Merchant of Venice," and Juliet's "Balcony scene," but I somehow never could imagine my fat, red-faced, snub-nosed old master (there! I've told you who he was), I never could fancy him as an ideal Romeo; he looked much more like Polonius, or the Ghost before he was a ghost—I mean as he probably was in the flesh.

My elocution master told me that Shakespeare was not my forte, so I studied some more modern pieces. He told me I was getting on very well—"one of my most promising pupils," but I found that he said that to every one.

Well, it soon became known that I recited (one must have some little vices, you know, just to show up one's virtues). I received an invitation from Lady Midas for a musical evening last Friday, and in a postscript, "We hope you will favor us with a recitation." Very flattering, wasn't it?

I went there fully primed with three pieces—"The Lifeboat," by Sims, "The Lost Soul," and Calverley's "Waiting." I thought that I had hit on a perfectly original selection; but I was soon undeceived. There were a great many people at Lady Midas', quite fifty, I should think, or perhaps two hundred; but I'm very bad at guessing numbers. We had a lot of music. A young man, with red hair and little twinkling light eyes, sang a song by De Lara, but it did not sound as well as when I heard the composer sing it. Then two girls played a banjo duet; then—no, we had another song first, then a girl with big eyes and an ugly dress—brown nun's veiling with yellow lace, and beads, and ribbons, and sham flowers and all sorts of horrid things, so ugly, I'm sure it was made at home. Well—where was I? Oh, yes!—she stood up and recited, what do you think? Why, "Calverley's Waiting!" Oh! I was so cross when it came to the last verses; you remember how they go (imitating)—

"'Hush! hark! I see a hovering form!
From the dim distance slowly rolled;
It rocks like lilies in a storm,
And oh! its hues are green and gold.

'It comes, it comes! Ah! rest is sweet,
And there is rest, my babe, for us!'
She ceased, as at her very feet
Stopped the St. John's Wood omnibus."

Well, when I heard that I felt inclined to cry. Just imagine how provoking; one of the pieces I had been practicing for weeks past. Oh, it was annoying! After that there was a violin solo, then another—no, then I had an ice, such a nice young man, just up from Aldershot, very young, but so amusing, and so full of somebody of "ours" who had won something, or lost something, I could not quite make out which.

Then we came back to the drawing-room, and an elderly spinster, with curls, sang, "Oh that we two were Maying," and the young man from Aldershot said, "Thank goodness we aren't."

Afterward I had another ice, not because I wanted it, not a bit, but the young man from Aldershot said he was so thirsty.

Then I saw a youth with long hair and badly-fitting clothes. I thought he was going to sing, but he wasn't; oh no! much worse! he recited. When I heard the first words I thought I should faint (imitating):

"Been out in the lifeboat often? Aye, aye, sir, oft enough.
When it's rougher than this? Lor' bless you, this ain't what we calls
rough."

How well I knew the lines! Wasn't it cruel? However, I had one hope left—my "Lost Soul," a beautiful poem, serious and sentimental. The æsthetic youth was so tedious that the young man from Aldershot asked me to come into the conservatory, and really I was so vexed and disappointed that I think I would have gone into the coal-cellar if he had asked me.

We went into the conservatory and had a nice long talk, all about——well, it would take too long to tell you now, and besides it would not interest you.

All at once mamma came in, and I felt rather frightened at first (I don't know why), but she was laughing and smiling. "O, Mary," she said, "that æsthetic young man has been so funny; they encored 'The Lifeboat,' so he recited a very comic piece of poetry, that sent us all into fits of laughter, it was called 'The Fried Sole,' a parody on 'The Lost Soul' that you used to recite."

Alas! my last hope was wrecked; I could not read after that! I believe I burst into tears. Anyhow, mamma hurried me off in a cab, and I cried all the way home and—and—I forgot to say good-night to the young man from Aldershot. Wasn't it a pity?

And you see that's why I don't like to recite anything to-night. (Some one from the audience comes up and whispers to her). No! really, have I? How stupid! I'm told that I've been reciting all this time. I am so sorry; will you ever forgive me? I do beg pardon; I'll never do it again! (Runs out.)

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