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Love suffers long with patient eye, Nor is provoked in haste; She lets the present injury die, And long forgets the past. |
Four Female Figures.
The above characters are represented as statues. Four females of the same height, of graceful form and fine features, are required to form the group. They should all be costumed in long white robes, that will trail eight inches, the waist cut quite low at the top, the sleeves five inches long; a wide scarf of tarleton muslin draped across the breast, tied at the side, and allowed to trail with the dress; hair confined at the back of the head, and left to fall over the shoulders; the head encircled with a wreath of myrtle and white flowers. If any ornaments are worn, they should be pure white. Hoop or any other large skirts must not be worn, as it is necessary to produce a slender figure for a statue design. The positions of the four ladies are in the following order: Hope stands at the right hand side of the stage, one foot from the drop curtain; Love at the left hand side, the same distance from the curtain; Faith and Charity at equal distances from Love and Hope, and three feet from the drop curtain. Placed in this manner, they will form a half oval. The stage furniture consists of four small pedestals, twenty-four inches square, with a cap and base extending out two inches, covered with white cloth, and ornamented in front with a small wreath of myrtle. Faith takes her position on the top of one of the pedestals. Her emblem is the cross, which she holds in her right hand; the left is raised and points upward; the eyes are raised upward, the countenance expresses meekness. Hope is poised on a pedestal, and holds an anchor, the foot of which rests on the top of the pedestal; the right hand is placed on the anchor, the left is on the breast; the eyes are raised slightly, countenance expressing serenity and hope. Charity comes next. In her right hand she holds a silver dish, which is filled with crumbs of white bread. Two robins stand on the side of the dish, eating the crumbs. The left hand rests on the side of the body; the eyes are directed to the birds; the face beams with smiles. Love is standing on one of the pedestals, holding in her right hand a torch, which is raised above her head, while the left gracefully holds the side of her dress. The head should be turned slightly aside, the eyes looking straight forward; countenance diffused with smiles. A gauze curtain may be suspended before the statues, covering the entire space inside of the frame. The light for this scene should be of medium brilliancy, and come from the front of the stage. The cross and anchor may be painted black, the torch painted blue, and tipped with gold; the flame carved in wood, and gilded. Stuffed birds can be fastened with wire springs, and attached to the silver dish. Music soft and plaintive.
THE DEATH OF GENERAL WARREN.
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Thou rising sun, thou blue rejoicing sky, Yea, every thing that is and will be free, Bear witness for me, wheresoe'er ye be, With what deep worship I have still adored The spirit of divinest Liberty. Coleridge. |
Twenty-five Male Figures.
This magnificent tableau represents the scene so well known in the early history of our country, and contains twenty-five figures, thirteen of which should be dressed in crimson uniform, to personate the British soldiers, six in continental costume, three in coarse homespun suits, three in sailor's costume. The stage must be formed to represent a hill, which can be done by using boxes and boards, and covering them with green cloth. The hill should rise from the footlights to within four feet of the ceiling in the background. The first and principal figure is General Warren. He is lying on the ground, a few feet from the foot of the hill, supported by one of his officers, who holds his head with his right hand, while with the left he grasps the musket of a British soldier, which is pointed at the breast of Warren. Warren's position is, facing the audience, eyes closed, arms hanging carelessly at his side; costume, continental; side arms, sash, sword, and chapeau lying in front of the body. The figure who supports Warren is dressed in blue breeches, white hose, white shirt, and black belt. Position, kneeling back of Warren, his eyes fixed on the soldier who stands a few paces back of Warren's feet. This soldier leans forward slightly, and grasps a musket, in which is a bayonet, which he is about to plunge into Warren's body. His eyes are fixed on the prostrate form before him, while the countenance expresses excitement and rage. Costume consists of a red coat, white breeches and hose, low shoes, knee and shoe buckles, white breast belts, black waist belt, and black military hat, with plume. By the side of the soldier, near the front of the stage, stands an officer, who is leading on the British. He holds a sword on his right shoulder, while the left grasps the butt of the musket of the soldier previously described. His body is bent forward, feet separated thirty inches, eyes fixed on Warren, countenance expressing energy and decision. Costume consists of a crimson coat, decorated with gold epaulets and lace, white silk hose, buff breeches, low shoes, knee and shoe buckles, red sash, side arms, and chapeau. Directly behind the figure who supports Warren stands an American soldier, with a musket held in front of his body, which he points towards the British soldier, who is about to pierce the body of Warren. His body is slightly bent backward, eyes fixed on the soldier, countenance expressing fear. The remaining figures should be placed in the space from the top of the hill down to the group we have described; a few should be fencing; some using their muskets as clubs; others firing at the enemy in the distance; while a few are stretched out in death on the ground. They must be placed in as great a variety of positions as possible, and in such a manner that one figure will not obscure the other. The countenances of all should appear excited. The booming of cannon and roll of the drum can be produced behind the scenes. The picture should be illuminated by a brilliant red fire burned at the side of the stage.