Any soldier from the fort who shall be carried off within the limits of the camp, becomes a prisoner of war, and cannot leave the camp until rescued by his own comrades. Any one of the attacking force pulled into the fort becomes a prisoner of war, and must remain in the fort until it is captured. Prisoners of war cannot be made to fight against their own side, but they may be employed in making snow-balls or repairing damages to fortifications. Any deserter recaptured must suffer the penalty of having his face washed with snow, and being set at work with the prisoners of war. When the outsiders, or attacking army, can replace the enemy's colors with their battle flag, the fort is captured, the battle is won by the attacking party, and all fighting must immediately cease. But if, in a sally, the soldiers of the fort can by any means take the colors of the opposite party from the camp and bring them inside their fortifications, they have not only successfully defended their fort, but have defeated the attacking army; and this ends the battle, with double honors to the brave defenders. No water-soaked or icy snow-balls are allowed. No honorable boy uses them, and any one caught in the ungentlemanly act of throwing such "soakers," should be forever ruled out of the game. No blows are allowed to be struck by the hand, or by anything but the regulation snow-ball, and, of course, no kicking is permitted. THE SLEEPING PRINCESS. BY JOHN V. SEARS. INTRODUCTORY NOTE. Two parts In producing this piece, special attention should be paid to the choruses and the tableaux. The choruses should be given with a swinging cadence strongly marked, even to a little sing-song fault. This will keep the voices well together and make study easier. will suffice, but soprano, alto, tenor, and bass, will be better. Uncles and aunts behind the scenes can lerd judicious aid in the singing. An orchestra of, say, four stringed instruments, is desirable, but a piano will do very well. The tableaux will need careful rehearsal, the manager playing the part of audience. Pose each about half a minute. Group the smaller children in front, the taller toward the back of stage. For most important scenic effects, depend on draperies, curtains, table-covers, shawls, dress-stuffs, etc., deep and rich in color. For the cradle and the princess's couch, use white draperies, cotton or linen, with broad borders of vines and scrolls, cut from gilt paper and pasted on. For stage, drop-curtain, etc., sec books on Parlor Theatricals. The roof and rafters of the garret may be represented by sheets of dark hardware paper pasted together and stretched tent-wise across a ridge-pole, extending from front to back of stage. For thrones, use large chairs, throwing draperies over seats and arms. Round-topped, gilt mirror frames, with cloth tacked across the openings, can be used for the backs. Over these hang a canopy, formed of curtains or piano-covers. The thrones should be on a platform, with two steps, covered with rich rugs. Where costumes are provided from home wardrobes, court-mantles may be the main feature for both lords and ladies. The skirts of evening silk dresses, not put on over the head but thrown across the shoulders, will answer this purpose. Fasten the belt, doubled, around the neck and cover it with a large collar or a ruff cut from tissue-paper. The royal mantles, trim with bands of ermine, made of cotton batting with spots of black. The ladies will want trains,-the longer the better. The lords should wear long hose and straight swords, the latter made from sticks, covered with gilt or black paper. The fairy train should be dressed in white, with wands and crowns of silver, and wings of white tissue-paper pasted on whalebone frames. Distinguish Titania by wings, crown and wand of gold. Malicina's dress should be scarlet, including shoes and gloves. Her wand, crown, and wings, should also be scarlet, the latter erect and pointed, made from glazed paper. Prince Charming should be in gorgeous array, consisting of velvet doublet, short cloak, trunks, embroidered hose, plumed cap and rapier. This part may be played by a girl. A bright, wee girl can also play baby Arabella, if sure not to cry at the wrong time: otherwise, assign this part to a large doll. Any one with musical tact can adapt pretty airs for the voices, and arrange suitable accompaniments; but, if desired, the full score of the operetta can be had, at the cost of copying, by addressing the author, No. 304 Chestnut street, Philadelphia. Assembling near the throne, [Heralds sound trumpets.] The fairies who attend the fortunes of our Queen To be our comfort and the kingdom's heir. CHORUS, [Courtiers.] All hail our Queen, The best e'er seen, All hail, all hail, all hail! The fairies have brought her All hail, all hail, all hail ! QUEEN [rising and bowing-recitative]. Her eyes are blue, her hair of golden sheen; CHORUS, [Courtiers.] Attend her state, All hail, all hail, all hail! CHAMBERLAIN [bowing to King]. Each kindly fairy in the land And with your majesty's command, CHORUS [Courtiers]. The fairies hail! They will not fail To come with pride and pleasure. Will guard our little treasure. CURTAIN. ACT II. TABLEAU. [State Chamber. Canopied cradle with infant Princess, right front. King and Queen center. Courtiers and Fairies, left front.] CHORUS [Fairies and Courtiers]. Hastens away Blithely and merrily, Lightly and cheerily. Laughing and joyous Pleasures employ us; Naught can annoy us, [Fairies cross stage to cradle.] SEMI-CHORUS [Courtiers]. SEMI-CHORUS [Fairies]. KING [recitative]. Fairy Titania, Queen of the Elves, And you, our fairy-guests, Thanks for the honor to our royal selves, QUEEN DORMINA. We seek your favor for our child SEMI-CHORUS [Fairies]. Your majesties have been most kind, If your majesties approve A charmed gift, as our farewell. The choicest gift she can bestow. [Advances and waves her wand over the cradle.] I, Titania, your queen, Will confer a gracious mien : A dignified and sweet address [The fairies in turn advance and wave their wands over the cradle.] ELFINELLA. I am the fairy Elfinella, And I will give to Arabella The gift of beauty. In form and feature She shall be the loveliest creature That ever in the world was known, As heiress to the Dream-land throne. ROSALINE. I will to our charge impart A faithful, true, and loving heart. LUCINA. Lucina, daughter of the light, MELODIA. I am Melodia, child of the air, VIOLETTA. Violetta me they call; My gift shall be the best of all. I hold you bound for this offense: King as you are, I'll teach you how Oh, Titania, save thy ward! TITANIA. We cannot break this hateful charm, But we can turn aside its harm. KING, AND QUEEN DORMINA. A hundred years! Oh, sad, sad fate! When she wakes, our little maid, Guard her well and keep her fast Let her never see a wheel; A hundred years she there must sleep, Then a prince shall come and wake her, And to fairer fortune take her. |