Home Pastimes; or Tableaux Vivants

by James H. Head

The gray morn Dawns on the scene; the sulphurous smoke Before the wind slow rolls away, And the bright beams of morning dance Along the spangled snow. There scattered arms, And lifeless warriors, whose hard lineaments Death's self could change not, mark the dreadful path Of the outsallying victors. Shelley.

One Female and Five Male Figures.

A scene representing a band of brigands in their mountain fastness, on the watch for plunder and rapine. The scenery in the background should resemble ragged rocks, made by fastening brown paper in a rumpled manner to a frame of wood, and shaded with light and dark-brown paints. This must extend two thirds across the stage, three feet from the extreme background. The sides should be covered with similar scenery. The floor is strown with small boxes, to give it an uneven appearance, and covered with buffalo robes. Two of the brigands are seated at one side of the stage, engaged in playing cards; one is reclining in the foreground asleep; another is leaning against the rocks, resting his arms and body on his carbine, while the chief is standing at the end of the ledge in the background, pointing with his right hand into the open space beyond. Behind him stands his wife, to whom he is in the act of speaking, and directing her attention to the road in the distance. She is stooping forward, endeavoring to see the objects which he points out. The costume of the brigands consists of a frock coat ornamented with large gilt buttons, and trimmed around the bottom with colored cloth; bright-colored vest bound around the front and bottom with fancy ribbon; black handkerchief tied loosely in the neck; knee breeches and hose, with a band of showy cloth around the top, fastened with a brilliant paste pin or silver buckle; low shoes; red or blue sash about the waist; high-crowned black felt hat, ornamented with red binding, wound in a spiral manner from the rim to the top of the hat, and a colored feather at the side. The coat can be decorated in a more profuse manner, if desired; each must be furnished with musket and pistols. The chief's dress should be of richer material, and more profusely decorated than the other characters. The wife's costume consists of a scarlet skirt, black velvet waist open in front and laced across with pink ribbon, a showy scarf tied about the head, the ends falling on the shoulders; the neck and arms ornamented with brilliant jewelry; a morocco belt encircles the waist, to which is attached a small dirk. The two card-players are looking at their cards, countenances expressing deep thought. The one who stands facing the audience looks to the floor. The one that is asleep should lie in a position so that the countenance can be seen, the head resting on the hand, eyes closed. The wife's position is, standing so that a side view of the countenance is had. The chief stands in front of her, and in the same position, but the head is turned around so as to face the audience; the countenances of both expressing curiosity and excitement. The face and other exposed parts of the persons of all the figures must be colored light-brown, and the men wear heavy beards. The light for this scene should come from a red fire, burned in small quantities at the front side of the stage. No music will be required for the piece.

DEATH OF SIR JOHN MOORE.

Not a drum was heard, not a funeral note, As his corpse to the ramparts we hurried, Not a soldier discharged his farewell shot O'er the grave where our hero was buried. Wolfe.

Twenty Male Figures.

The battle of Corunna, so disastrous to the British army, was fought January 16, 1809. Sir John Moore arrived in Spain in November, 1808, with a British army, and having advanced some distance into the country, he found himself compelled to make a rapid retreat. He was closely followed by the French under Marshal Soult, who attacked the British as they were embarking. Sir John Moore, while earnestly watching the result of the fight about the village of Elrina, was struck on the left breast by a cannon shot; the shock threw him from his horse with violence; he rose again in a sitting position, his countenance unchanged, and his steadfast eye still fixed upon the regiments engaged in his front; no sigh betrayed a sensation of pain; but in a few moments, when he was satisfied that the troops were gaining ground, his countenance brightened, and he suffered himself to be taken to the rear. As the soldiers placed him in a blanket, his sword got entangled, and the hilt entered the wound. A staff officer attempted to take it off, but the dying man stopped him, saying, "It is as well as it is. I had rather it should go out of the field with me." And in this manner, so becoming to a soldier, Moore was borne from the field. Several times he caused his attendants to stop and turn him around, that he might behold the field of battle. Night soon darkened the scene; the rumbling of baggage wagons, and the occasional booming of the distant cannon, alone disturbed the mournful silence of the scene; here and there the flames of burning villages shed a portentous light through the gloom. At length, to break the mournful silence, and to express the sympathy they might not speak, the band played a requiem for the dying general. The solemn strains arose and fell in prolonged echoes over the field, and swept in softened cadences on the ear of the dying warrior. Moore breathed faintly for a few hours, and before the morning dawned he had passed away. His corpse was wrapped in his military cloak, and was interred by the officers of his staff on the ramparts of Corunna—an event which is commemorated in the beautiful verses of Wolfe, the guns of the enemy paying him funeral honors. Soult, with a noble feeling of respect for his valor, raised a monument to his memory. Thus ended the career of Sir John Moore, a man whose uncommon capacity was sustained by the purest virtue. His tall, graceful person, dark, searching eyes, strongly defined forehead, and singularly expressive mouth, indicated a noble disposition and a refined understanding. He maintained the right with a vehemence bordering upon fierceness, and every important transaction in which he engaged increased his reputation for talent, and confirmed his character as a stern enemy to vice, a steadfast friend to merit, a just and faithful servant of his country.

Description of Tableau.—This magnificent scene contains twenty figures. On the centre of the stage, reclining on an English flag, is Sir John Moore, his countenance pale and deathly. He is dressed in rich uniform, which is described in the latter part of the tableau. His position is, lying across the stage, his face turned to the audience. At his feet stand two Highland soldiers, leaning on their muskets, and gazing on the dying man. A soldier with a bandage around his head is kneeling in front of them; one hand grasps the flag, the other points to the background; countenance expressing terror. At the head of Moore, partially stooping and holding the end of the flag, are two officers in full uniform; two other officers are seen back of the body, who are also grasping the flag and gazing on the face of the dying hero; three soldiers are kneeling in the foreground, their attention fixed on Moore; back of this group, on a platform one foot high, is seen a platoon of soldiers, one of which holds an ensign; their backs should be towards the audience, muskets to the shoulder, and position of soldiers marching hastily from the field in retreat; still further in the background, on a platform four feet high, is placed a second platoon, who are in the same position; one or two in each rank are looking back to the group in front; two soldiers directly back of Moore are levelling their muskets to the enemy in the distance. Cannon, muskets, drums, and swords should be strown carelessly on the stage, while a small quantity of smoke must be made to hover over the scene, and the booming of cannon imitated in the distance. Moore has one hand pressed to his breast; the other is held by one of the officers at his side. The costumes of the officers should be as varied and brilliant as can be procured. Scarlet coats would be most appropriate. The scene must be illuminated by a red fire burned at the right side of the stage. Music of a mournful and sacred order.