A female figure, clothed in sober gray, and seated on a very low stool, facing R., and gazing heavenwards. (If a “sky” background is procurable, a single star should be visible, and should be the object of her gaze.) Her right elbow rests upon her right knee, and her right hand supports her chin. Her left hand hangs by her side, and at her feet lies the emblematic anchor. Red light, not too strong.
v. Charity.
A ragged boy, barefooted, and clasping a worn-out broom, sits huddled on the ground L., but facing R. His arms are folded and rest on his knees, and his head is bent down upon them, so as to hide his face. A girl, in nun’s costume, is touching him on the shoulder, and apparently proffering help and sympathy.
vi. Single Life.
Scene, a tolerably well-furnished but untidy sitting-room, with numerous traces of bachelor occupation, such as crossed foils on the wall, a set of boxing-gloves under a side-table; boots, hats, and walking-sticks lying about in various directions. On one corner of the table some one has apparently breakfasted in rather higgledy-piggledy fashion. Near the table sits a young man, with a short pipe in his mouth, and one foot bare, while he is endeavoring to darn an extremely dilapidated sock.
vii. The Sailor’s Farewell.
Scene, a cottage home. A young man, in sailor costume, and with a bundle on his shoulder, stands with his right hand on the latch of the door, R.C., but looking back with a sorrowful expression at his wife (personated by a young lady in short black or blue skirt, red or white blouse, and white mob-cap), who sits with her apron up to her eyes in an apparent agony of grief. Three children are present, the two elder crying for sympathy, the youngest sitting in a crib or cradle, and amusing himself with some toy, in apparent unconsciousness of his father’s approaching departure. Soft blue light from L. Music, “The Minstrel Boy.”
viii. Home Again.
The same scene. Children a couple of years older. (This may be effected by suppressing the youngest, and introducing a fresh eldest, as much like the others as possible.) The sailor of the last scene, slightly more tanned, and with a fuller, “made-up” beard, has apparently just entered. The wife has both arms round his neck, her face being hidden in his bosom. Of the children, the eldest has seized and is kissing her father’s hand, while the two younger each cling round one leg. Soft red light. Music, “A Lass that Loves a Sailor,” or “When Johnny comes Marching Home Again.”