But she looked round to ask the little boys if they, too, had shaken hands with the great man, but not a little boy could she find.
They had been swept off in Mother Goose’s train, which had lingered on the steps to see the Dickens reception, with which the procession of characters in costume had closed. At this moment they were dancing round the barberry bush, in a corner of the balcony in Mother Goose’s quarters, their feather-dusters gayly waving in the air.
But Mrs. Peterkin, far below, could not see this, and consoled herself with the thought, they should all meet on the stage in the grand closing tableau. She was bewildered by the crowds which swept her hither and thither. At last she found herself in the Whittier Booth, and sat a long time calmly there. As Cleopatra she seemed out of place, but as her own grandmother she answered well with its New England scenery.
Solomon John wandered about, landing in America whenever he found a chance to enter a booth. Once before an admiring audience he set up his egg in the centre of the Goethe Booth, which had been deserted by its committee for the larger stage.
Agamemnon frequently stood in the background of scenes in the Arabian Nights.
It was with difficulty that the family could be repressed from going on the stage whenever the bugle sounded for the different groups represented there.
Elizabeth Eliza came near appearing in the “Dream of Fair Women,” at its most culminating point.
Mr. Peterkin found himself with the “Cricket on the Hearth,” in the Dickens Booth. He explained that he was Peter the Great, but always in the Russian language, which was never understood.
Elizabeth Eliza found herself, in turn, in all the booths. Every manager was puzzled by her appearance, and would send her to some other, and she passed along, always trying to explain that she had not yet decided upon her character.
Mr. Peterkin came and took Cleopatra from the Whittier Booth.