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Augustus St. Gaudens

Augustus Saint-Gaudens

STATUE OF LINCOLN, LINCOLN PARK, CHICAGO

STATUE OF LINCOLN, LINCOLN PARK, CHICAGO

LINCOLN DAY
ENTERTAINMENTS

LINCOLN DAY
EVENTS

RECITATIONS, PLAYS, DIALOGUES, DRILLS,
TABLEAUX, PANTOMIMES, QUOTATIONS,
SONGS, TRIBUTES, STORIES, FACTS

RECITATIONS, PLAYS, DIALOGUES, DRILLS,
TABLEAUX, PANTOMIMES, QUOTATIONS,
SONGS, TRIBUTES, STORIES, FACTS

EDITED BY

UPDATED BY

JOS. C. SINDELAR

JOS. C. SINDELAR


A. FLANAGAN COMPANY

CHICAGO

A. FLANAGAN COMPANY

CHICAGO

Copyright, 1908

BY

A. FLANAGAN COMPANY

Copyright, 1908

BY

A. FLANAGAN COMPANY


IT IS especially fitting to issue this book—in fact, any book on the life and work of Abraham Lincoln—at this time, just preceding the centennial of his birth. Insignificant as the little volume may seem, it will have earned its right to publication if it bring, in whatever small measure, before the growing mind of the country a better realization of the grand life of the noble Lincoln—the loved and martyred President—inspired by God and divinely prepared for a great purpose: to guard and preserve a free and united country.

It's especially appropriate to publish this book—really, any book about Abraham Lincoln—right now, just before the 100th anniversary of his birth. Although this small volume may seem insignificant, it will have justified its publication if it brings, even in a small way, a better understanding of the remarkable life of the beloved and martyred President Lincoln, who was inspired by God and divinely prepared for an important mission: to protect and maintain a free and united nation.

One hundred years seem but a day! One thousand years hence a deeper feeling will be felt for everything concerning Lincoln, as with each passing year he grows in the affections of the people. His body is dead, but his memory will live in the hearts of the people as long as our country shall cherish freedom and liberty. He was a born king of men, with an intense and yearning love for his fellows and their welfare, which knew neither rank, race, nor creed, but gathered within its boundless charity all mankind.

One hundred years feel like just a day! In a thousand years, people will have an even deeper connection to everything about Lincoln, as he continues to grow in the hearts of the people with each passing year. His body is gone, but his memory will live on in the hearts of the people as long as our country values freedom and liberty. He was a natural leader, with a deep and heartfelt love for his fellow humans and their well-being, which transcended rank, race, and creed, embracing all of humanity with his limitless compassion.

What a shining xample this simple but sublime life offers to our growing youth! Born of humble parents, surrounded by poverty and hardships such as we seldom encounter today, his rise to the highest position in the gift of the American people—which position he not only ably filled but highly honored—is a grand illustration of persistence and ambition; ambition, though, tempered with foresight and wisdom. His was an exemplary character: a character which for quaint simplicity, earnestness, kindness, truthfulness and purity has never been surpassed among the historic personages of the world. His figure, too, more than any other in the history of our country, illustrates that America is the land of opportunity. « 4 » In short, to us he is the representative and typical American.

What a shining example this simple yet profound life offers to our young people! Born to humble parents and surrounded by poverty and hardships that we rarely see today, his rise to the highest position granted by the American people—not only a position he filled admirably but also one he honored greatly—stands as a powerful illustration of determination and ambition; ambition that was balanced with foresight and wisdom. He had an exemplary character: one that, for its unique simplicity, earnestness, kindness, truthfulness, and purity, has never been surpassed among historical figures in the world. His presence, more than anyone else in our country's history, shows that America is the land of opportunity. « 4 » In short, to us, he represents and embodies the typical American.

He missed the polish that higher education affords, polish though he needed not. What would not this country, with all its bright and polished men, give today for another man of rugged education, rugged honesty and rugged foresight and wisdom as was Abraham Lincoln? It is hard to measure the usefulness of the life of such a man, yet more hard to do his memory justice. Great qualities of heart and head did he possess, of patience, patriotism, and piety, too. He occupies a unique place in our nation's history. Though most of us never saw him, yet we feel daily the influence of his just and kindly life bound up in the two titles given him by his neighbors and those who knew him well: "Honest Old Abe" and "Father Abraham."

He missed the refinement that higher education provides, even though he didn't really need it. What wouldn't this country, with all its sharp and polished professionals, give today for another person with the rugged education, honesty, foresight, and wisdom of Abraham Lincoln? It's tough to measure the impact of such a person's life, and even harder to honor his memory properly. He had great qualities of heart and mind, along with patience, patriotism, and piety. He holds a unique place in our nation's history. Although most of us never met him, we feel the daily influence of his just and kind life, encapsulated in the two names given to him by his neighbors and those who knew him well: "Honest Old Abe" and "Father Abraham."

The matter in this book, the only one of its kind published, is intended not only for the entertainment of children but for their instruction also. The contents for the most part is new, much of it having been written especially for the book by Marie Irish, Clara J. Denton, and Laura R. Smith, and some gathered from various sources and adapted by the compiler. It is arranged as nearly as possible under the various headings in degree of difficulty, primary material being placed first.

The content in this book, the only one of its kind published, is meant not just to entertain children but also to educate them. Most of the material is new, with a lot of it written specifically for this book by Marie Irish, Clara J. Denton, and Laura R. Smith, while some has been sourced from various places and adapted by the compiler. It is organized as closely as possible under different headings based on difficulty, with the primary material placed first.

Grateful acknowledgments are rendered to all magazines, periodicals and books from whose pages selections have been gleaned and without which the book could not have been complete. Proper credit has been given wherever such matter appears. A few selections have been used of which the names of author or publisher are unknown. For these it has been impossible to give proper credit. In cases where unintentional infringements have been made, sincere apologies are tendered.

Grateful thanks go out to all the magazines, periodicals, and books from which selections have been taken, without which this book wouldn't have been complete. Proper credit has been given wherever such material appears. A few selections have been used for which the names of the author or publisher are unknown. For these, it has been impossible to provide proper credit. In cases where unintentional infringements have occurred, sincere apologies are offered.

J. C. S.

J.C.S.


READINGS, RECITATIONS, QUOTATIONS

Readings, recitations, quotes

PAGE
Abraham Lincoln Joel Benton 29
Abraham Lincoln Susie M. Best 16
Abraham Lincoln William Cullen Bryant 24
Abraham Lincoln Alice Cary 24
Abe Lincoln James Russell Lowell 30
Abraham Lincoln R. H. Stoddard 23
Abraham Lincoln Tom Taylor 35
In Richmond Clara J. Denton 18
Best Tribute, The Sidney Dayre 15
The Blue and the Gray Francis Miles Finch 39
The Death of Lincoln Charles G. Halpin 27
The Flag Goes By Henry Holcomb Bennett 20
The Veteran's Grandson Arthur E. Parke 12
Jonathan to John James Russell Lowell 43
Let's Be Like Him Lydia Avery Coonley 14
Like Lincoln Clara J. Denton 10
Lincoln 11
Lincoln 19
Lincoln Henry Tyrrell 38
Lincoln: A Man Chosen by God John Mellen Thurston 41
Lincoln and the Chicks Clara J. Denton 14
Lincoln, the People's Champion Edwin Markham 34
« 6 »No slave under the flag George Lansing Taylor 47
O Captain! My Captain! Walt Whitman 28
Vintage Flag Hubbard Parker 22
On the Life-Mask of Abraham Lincoln Richard Watson Gilder 29
Our ancestor Abraham 32
Our Lincoln car 10
Lincoln Quotes 54
Some Heroes 9
The Story of Lincoln C. C. Hassler 21
It's wonderful to live so grandly. Margaret E. Sangster 17
Honoring Lincoln 48
Was Lincoln a King? Ella M. Bangs 13
Your Flag and My Flag Wilbur D. Nesbit 26

PLAYS, DIALOGUES, EXERCISES

Plays, dialogues, activities

Captain Lincoln. 5 boys Clara J. Denton 82
Flag Drill, A. 8 girls and boys L. F. Armitage 68
The Prophecy. 1 girl, 2 boys Clara J. Denton 77
Savior of Our Flag and Country, The. Whole school Laura R. Smith 57
With Fife and Drum Corps. 4 girls, 3 boys Clara J. Denton 88
The Wooden Fire Shovel. 3 girls, 2 boys Clara J. Denton 70
Suggestive App 102

DRILLS—By Marie Irish

DRILLS—By Marie Irish

Daughters of the Civil War. 12 girls 110
The Blue and the Gray on the Rappahannock. 20 to 40 children 117
The Star-Spangled Banner. 5 girls, 5 boys 103
« 7 »The Star-Spangled Banner. 11 children 106

PANTOMIMES—By Marie Irish

Pantomimes—By Marie Irish

USA 125
Old Lang Syne 129
The Blue and the Gray 128
Columbia, the Jewel of the Sea 131
Home, Sweet Home 132
The Star-Spangled Banner 123
Swanee River 126

TABLEAUX—By Marie Irish.

TABLEAUX—By Marie Irish.

Freedom 134
The March of Civilization 133
Harmony 134

Scenes from the Life of Lincoln
     The Student, The Laborer, The Emancipator,
     The Pardoner, The Martyr.

Scenes from the Life of Lincoln
     The Student, The Worker, The Freedom Bringer,
     The Grantor of Mercy, The Hero.

135
The Soldier's Farewell 133
When I’m Grown 132

SONGS

TRACKS

The Day We Celebrate Clara J. Denton 138
His Name Clara J. Denton 140
Lincoln Love Laura R. Smith and Clarence L. Riege 143
Lincoln Day Laura R.
Smith, F. F. Churchill and Mrs. Clara Grindell
144
Lincoln Anthem Clara J. Denton 139
We Sing, The Clara J. Denton 139
A Song of Joy Clara J. Denton 141
Sunny Southland Laura R. Smith and Clarence L. Riege 146
« 8 »When Lincoln Was a Young Boy Clara J. Denton 137

STORIES AND FACTS

Stories and Facts

Events in the Life of Abraham Lincoln 158
The Gettysburg Address 157
Giving a Pardon 149
How They Sang "The Star-Spangled Banner"
When Lincoln Was Sworn In
Thomas Nast 152
Lincoln's Memoir 150
Lincoln's Go-To Poem 154
Lincoln's Compassion 148
Why Dummy Clocks Show 8:18 148



SOME HEROES

SOME HEROES

This recitation is intended to be rendered by two little boys. One holds a book and shows the pictures while the other recites.

This performance is designed for two young boys. One will hold a book and display the pictures while the other reads aloud.

NOW look, and some pictures of heroes I'll show,
A hero is always a brave man, you know.

Here on this first page is Washington grand,
He fought for our liberty, our free, honored land.

And next we see our loved Lincoln so brave,
You know he gave freedom to each poor old slave.

And here's General Grant! Think what battles he won!
He fought that all States be united as one.

You see all these heroes are both good and great,
And each gave his life for his country and state.

The last is a hero,—now think who 'twill be!
He, too, will be great; now look and see,—Me.

NOW look, and I'll show you some pictures of heroes,
A hero is always a brave person, you know.

Here on this first page is grand Washington,
He fought for our freedom, our respected land.

Next, we see our beloved Lincoln, so brave,
He gave freedom to every poor old slave.

And here's General Grant! Think of all the battles he fought!
He fought for all States to be united as one.

You see, all these heroes are both good and great,
And each sacrificed for their country and state.

The last is a hero—now guess who it will be!
He, too, will be great; now look and see—Me.

OUR LINCOLN

Our Lincoln

Our Lincoln, when he was a boy,
Was very tall and slim.
You see I'm just a little tall;
I wonder if I look like him.

Our Lincoln, when he was a boy,
Was very brave and very true.
Today I'm just a little brave;
In this I'm like our Lincoln, too.

Our Lincoln, when he was a man,
Was loved and honored everywhere.
I'll be the man that Lincoln was,
To do this I must now prepare.

Our Lincoln, when he was a kid,
Was really tall and slim.
You see I'm just a bit tall;
I wonder if I look like him.

Our Lincoln, when he was a kid,
Was very brave and truly genuine.
Today I'm just a bit brave;
In this way, I’m similar to our Lincoln as well.

Our Lincoln, when he was an adult,
Loved and respected everywhere.
I'll be the man that Lincoln was,
I need to get ready for this now.

LIKE LINCOLN

Be like Lincoln

Clara J. Denton

Clara J. Denton

WHEN I'm a man, a great big man,
Like dear old Abe I'll be.
I mean to follow every plan
To make me good as he.

I'll study well, and tell the truth.
And all my teachers mind;
And I will be to every one,
Like him, so true and kind.

I'll try to live in peace, because
"Quarrels don't pay," said he;
And any rule of "Honest Abe's"
« 11 »Is good enough for me.

I'll make the best of everything,
And never scold or whine;
That was his way when trouble came,
And so it shall be mine.

I'll be a temperance man, like him.
They say—what do you think!—
He gave some great men at his house,
Just water cold to drink!

He did not muddle up his brains
With any sort of stuff.
And so, I think his way—don't you?
Is plenty good enough.

I may not be a President
If thus my life I plan.
But I'll be something better still:
A good and honest man.

WHEN I'm a grown man, a really big man,
Just like good old Abe, that's who I'll be.
I plan to follow every plan
To be as good as he is.

I'll study hard and tell the truth.
And all my teachers will pay attention;
And I will treat everyone,
Just like him, so honest and kind.

I'll strive to live in peace, because
"Fighting doesn't solve anything," he said;
And any rule from "Honest Abe"
« 11 »Is good enough for me.

I'll make the best of everything,
And never complain or moan;
That was his approach when trouble hit,
And so it will belong to me.

I'll be a man of moderation, like him.
They say—what's your opinion?—
He served some important folks at his place,
Just cold water to drink!

He didn't cloud his mind
With any kind of substances.
And I believe his way—don't you?
Is better than good enough.

I might not become a President
If I live my life like this.
But I'll be something even better:
A decent and honest man.

LINCOLN[A]

LINCOLN

ONLY a baby, fair and small,
Like many another baby son,
Whose smiles and tears came swift at call,
Who ate, and slept, and grew, that's all,—
The infant Abe Lincoln.

Only a boy like other boys,
With many a task, but little fun,
Fond of his books, though few he had,
By his good mother's death made sad,—
« 12 »The little Abe Lincoln.

Only a lad, awkward and shy,
Skilled in handling an ax or gun,
Mastering knowledge that, by and by,
Should aid him in duties great and high,—
The youthful Abe Lincoln.

Only a man of finest bent,
A splendid man: a Nation's son,
Rail-splitter, Lawyer, President,
Who served his country and died content,—
The patriot, Abe Lincoln.

Only—ah! what was the secret, then,
Of his being America's honored son?
Why was he famed above other men,
His name upon every tongue and pen,—
The illustrious Abe Lincoln?

A mighty brain, a will to endure,
Kind to all, though a slave to none,
A heart that was brave, and strong, and sure,
A soul that was noble, and great, and pure,
A faith in God that was held secure,—
This was Abraham Lincoln.

ONLY a baby, cute and tiny,
Like many other baby boys,
Whose smiles and cries came quickly,
Who ate, slept, and grew, that’s it,—
Baby Abe Lincoln.

Just a boy like all the others,
With lots of chores and not much fun,
Loved his books, even though he had few,
Heartbroken by the death of his good mother,—
« 12 »Little Abe Lincoln.

Just a kid, awkward and shy,
Proficient with an axe or a gun,
Learning things that, eventually,
Would help him with great tasks ahead,—
Young Abe Lincoln.

Just a man of the finest kind,
An exceptional man: a son of the Nation,
Rail-splitter, Lawyer, President,
Who served his country and died fulfilled,—
The patriot, Abraham Lincoln.

Only—ah! what was the secret, then,
Is he America's honored son?
Why was he celebrated above other men,
His name on every tongue and in every pen,—
The legendary Abe Lincoln?

A brilliant mind, a strong will to endure,
Kind to everyone, yet a servant to no one,
A heart that was brave, strong, and sure,
A soul that was noble, great, and pure,
A faith in God that was steadfast,—
This is Abraham Lincoln.

[A] With apologies to the unknown writer of the pretty poem Washington, of which this is an adaptation.—Editor.

[A] Sorry to the unknown author of the lovely poem Washington State, of which this is a rework.—Editor.

THE GRANDSON OF THE VETERAN

THE VET'S GRANDSON

Arthur E. Parke

Arthur E. Parke

I'VE got the finest grandpapa
That ever lived, I b'lieve;
He used to be a soldier boy—
He's got one empty sleeve.

He tells the grandest tales to me,
Of battles that he fought;
Of how he marched, and how he charged,
« 13 »And how that he got shot.

My papa was a soldier, too;
No battles was he in,
And when I ask him, "Why?", he laughs
And "guesses" he "was tin."

I've tried to understand their talk,
And b'lieve I have it right:
My grandpa licked so many, there
Were none for pa to fight.

I'VE got the best grandpa
That ever existed, I believe;
He used to be a soldier—
He has one empty sleeve.

He tells the greatest stories to me,
Of battles he fought;
Of how he marched, and how he charged,
« 13 »And how he was shot.

My dad was a soldier, too;
He never participated in any battles,
And when I ask him, "Why?", he laughs
And he "guesses" he "was tin."

I've tried to understand what they mean,
And I think I have it correct:
My grandpa won so many, there
There were none left for Dad to fight.

Youth's Companion.

Youth's Companion.

WAS LINCOLN KING?

WAS LINCOLN KING?

Ella M. Bangs

Ella M. Bangs

WE TALKED of kings, little Ned and I,
As we sat in the firelight's glow;
Of Alfred the Great, in days gone by,
And his kingdom of long ago.

Of Norman William, who, brave and stern,
His armies to victory led.
Then, after a pause, "At school we learn
Of another great man," said Ned.

"And this one was good to the oppressed,
He was gentle and brave, and so
Wasn't he greater than all the rest?
'Twas Abraham Lincoln, you know."

"Was Lincoln a king?" I asked him then,
And in waiting for his reply
A long procession of noble men
Seemed to pass in the firelight by.

When "No" came slowly from little Ned,
And thoughtfully; then, with a start,
"He wasn't a king—outside," he said,
"But I think he was in his heart."

WE TALKED about kings, little Ned and I,
As we sat in the firelight;
About Alfred the Great, from long ago,
And his historical kingdom.

About Norman William, who, brave and tough,
Led his troops to victory.
Then, after a pause, "At school we learn
"Talking about another great man," said Ned.

"And this one was good to the oppressed,
He was kind and brave, and so
Wasn't he greater than all the rest?
"It was Abraham Lincoln, you know."

"Was Lincoln a king?" I asked him then,
And while waiting for his response
A long line of noble men
Seemed to drift by in the firelight.

When "No" came slowly from little Ned,
And carefully; then, suddenly,
"He wasn't a king—outside," he said,
"But I believe he was genuine at heart."

LET US BE LIKE HIM[B]

Let’s Be Like Him[B]

Lydia Avery Coonley

Lydia Avery Coonley

WHEN we think of Abraham Lincoln
Then the angel voices call,
Saying: Try to be just like him!
Be as noble, one and all.

Be as truthful, as unselfish;
Be as pure, as good, as kind;
Be as honest; never flatter;
Give to God your heart and mind.

Seek not praise, but do your duty,
Love the right and work for it;
Then the world will be the better
Because you have lived in it.

WHEN we think of Abraham Lincoln
Then the angel voices call,
Saying: Try to be just like him!
Be noble, everyone.

Be as honest, as selfless;
Be pure, good, and kind;
Be truthful; don’t flatter;
Give God your heart and mind.

Seek not glory, but do your duty,
Stand up for what’s right and put in the effort for it;
Then the world will be better
Because you were involved.

[B] From Lincoln and Washington, by Marian M. George and Lydia Avery Coonley. Copyrighted and published by A. Flanagan Company. Price, twenty-five cents.

[B] From Lincoln and Washington, by Marian M. George and Lydia Avery Coonley. Copyrighted and published by A. Flanagan Company. Price, twenty-five cents.

LINCOLN AND THE NESTLINGS

LINCOLN AND THE NESTLINGS

Clara J. Denton

Clara J. Denton

I'VE heard the beautiful stories
Of Lincoln so great and so good.
He helped all people in trouble,
And their grief so well understood;
To many sad tales he listened,
Of heart-broken mothers and wives;
And pausing 'mid all his worries,
« 15 »Once more he brought hope to their lives.

Dearer than all other stories,
Is this little one of the day
When he, with his friends, was riding
On horseback along the roadway;
There, in the dust, by a tree, he found
One little bird, then another,
From their nest the wind had blown them,
And he was hunting for their mother.

When at last he found the nest, and
In it the birdies laid,
'Mid the party's merry laughter
His heart was glad, his manner grave:
"Seems to me," he said, "I couldn't
Tonight in bed with ease have slept
Had I left those creatures suffer
And not restored them to their nest."

Wonderful heart; ever tender—
Tender, yet just, with the rest.
I think among all the stories,
This shows his true nature the best.

I'VE heard the beautiful stories
Of Lincoln, who was truly great and good.
He helped everyone in trouble,
And understood their sorrow so deeply;
He listened to many sad tales,
Of heartbroken moms and wives;
And despite all his worries,
« 15 »He once again brought hope into their lives.

Dearer than all other stories,
Is this little one about the day?
When he, with his friends, was riding
On horseback down the street;
There, in the dust by a tree, he found
One little bird, then another,
Blown from their nest by the wind,
He was looking for their mother.

When he finally found the nest, and
The baby birds were indoors,
Amid the party's cheerful laughter,
He felt happy inside, but he kept a serious expression.
"Seems to me," he said, "I couldn’t
I went to bed easily tonight.
If I had left those beings to suffer
"And hadn’t returned them to their nest."

What a wonderful heart; always tender—
Tender, yet fair, like the rest.
I believe among all the stories,
This one reveals his true nature the best.

THE BEST TRIBUTE

THE BEST TRIBUTE

Sidney Dayre

Sidney Dayre

MY GRANDPA was a soldier. They tell about the day
He said his very last good-by and bravely marched away,
With flying flags and bayonets all gleaming in the sun.
They never saw him march back when all the war was done.

They brought him here and laid him where I can always bring
« 16 »The very brightest flowers that blossom in the spring;
But sweeter far than flowers, as every one can tell,
Is the memory of the soldiers who loved their country well.

I wish I could be like him—to try with all my might
And do my loyal service for honor and for right
And victory and glory! But children now, you know,
Have never any chance at all to war against a foe.

And as I think upon it, the best that we can do
To show our love and honor for a hero brave and true,
Is to resolve together always to be brave,
To live our very noblest in the land he died to save.

MY GRANDPA was a soldier. They talk about the day
He said his final good-bye and marched away with courage,
With flags waving and bayonets shining in the sun.
They never saw him march back when the war ended.

They brought him here and laid him where I can always bring
« 16 »The brightest flowers that bloom in the spring;
But sweeter than flowers, as everyone knows,
Is the memory of the soldiers who truly loved their country.

I wish I could be like him—to try with all my strength
And serve loyally for honor and for what's right,
And for victory and glory! But kids these days, you know,
Never get the chance to fight against an enemy.

And as I think about it, the best thing we can do
To show our love and respect for a brave and true hero,
Is to promise to always be courageous,
To live our lives nobly in the land he fought to protect.

ABRAHAM LINCOLN

ABRAHAM LINCOLN

Susie M. Best

Susie M. Best

'MID the names that fate has written
On the deathless scroll of fame,
We behold the name of Lincoln,
Shining like a living flame.

'Mid the deeds the world remembers,
(Deeds by dauntless heroes done),
We behold the deeds of Lincoln,
Blazing like a brilliant sun.

'Mid the lives whose light illumines
History's dark and dreadful page,
We behold the life of Lincoln,
Lighting up an awful age.

When the storm of peril threatened
His loved land to overwhelm,
Safe the ship of state he guided,
« 17 »With his hand upon the helm.

Statesman, ruler, hero, martyr—
Fitting names for him, I say,
Wherefore, let us all as brothers,
Love his memory today.

'MID the names that fate has written
On the endless list of fame,
We see the name of Lincoln,
Shining like a living flame.

Among the deeds the world remembers,
Acts by fearless heroes done
We recognize the deeds of Lincoln,
Blazing like a bright sun.

Among the lives whose light brightens
History's dark and grim chapter,
We acknowledge the life of Lincoln,
Shining a light on a dark time.

When the storm of danger threatened
His beloved land to conquer,
He safely steered the ship of state,
« 17 »With his hand on the wheel.

Statesman, leader, hero, martyr—
I think these names really suit him.
So let us all, as brothers,
Remember him today.

'TIS SPLENDID TO LIVE SO GRANDLY[C]
Margaret E. Sangster

IT'S AMAZING TO LIVE SO LUXURIOUSLY[C]
Margaret E. Sangster

'TIS splendid to live so grandly
That, long after you are gone,
The things you did are remembered,
And recounted under the sun;
To live so bravely and purely
That a nation stops on its way,
And once a year, with banner and drum,
Keeps the thoughts of your natal day.

'Tis splendid to have a record,
So white and free from stain,
That, held to the light, it shows no blot,
Though tested and tried again;
That age to age forever
Repeats its story of love,
And your birthday lives in a nation's heart
All other days above.

And this is our Lincoln's glory,
A steadfast soul and true,
Who stood for his country's union,
« 18 »When his country called him to.
And now that we once more are one,
And our flag of stars is flung
To the breeze in defiant challenge,
His name is on every tongue.

Yes, it's splendid to live so bravely,
To be so great and strong,
That your memory is ever a tocsin
To rally the foes of the wrong;
To live so proudly and purely
That your people pause in their way,
And year by year, with banner and drum,
Keep the thoughts of your natal day.

'Tis amazing to live so grandly
That, long after you're gone,
The things you did are remembered,
And shared in the sunlight;
To live so bravely and purely
That a nation stops in its tracks,
And once a year, with banners and drums,
Happy birthday!

It's amazing to have a legacy,
So bright and free from blemish,
That, held to the light, it shows no marks,
No matter how it's evaluated;
That age after age forever
Recounts its love story,
And your birthday lives in a nation's heart
Above all other days.

And this is our Lincoln's glory,
A loyal and genuine person,
Who stood for his country's unity,
« 18 »When his country summoned him.
And now that we are once again united,
And our flag with stars is flying.
In proud defiance,
His name is on everyone’s lips.

Yes, it's amazing to live so boldly,
To be so powerful and strong,
That your memory is always a call
To stand up against injustice;
To live so proudly and purely
That your people pause during their journey,
And year after year, with banners and drums,
Don't forget your birthday.

[C] Adapted by the editor from the author's excellent tribute to Washington. The poem is equally true to the character and work of Lincoln as well as the love for him.

[C] Adapted by the editor from the author's wonderful tribute to Washington. The poem genuinely reflects the character and work of Lincoln and the affection felt for him.

AT RICHMOND
Clara J. Denton

AT RICHMOND
Clara J. Denton

WE HAVE read the stories glowing,
Found in annals of old,
Of mighty conquerers marching,
With cohorts strong and bold:

We see the proud monarch, riding
In grand and lofty state,
We hear the clamor, extolling
His skill and prowess great.

But, grander by far the vision
Modern annals unclose:
Through the burning streets of Richmond
Walks Lincoln 'mong his foes.

Though no pride of state surrounds him,
On every side we hear:
"Foh Marsa Linkum, bress de Lawd."
« 19 »"De Sabiour now am near."

"O, honey chile, jes' tech him once!"
"Suah heben is 'mos' nigh."
"I's on de mount, O, Gawd, I is."
"Dis niggah now kin die."

O, the poor untutored negroes!
And yet I am sure, to him
Before those cries of joy and love
Earth's brightest gauds grew dim.

And, I think, his heart that morning
A throb exultant gave;
For never more his countrymen
Could know the name of slave!

WE HAVE read the inspiring stories,
Found in the records of the past,
Of great conquerors marching,
With their powerful and fearless troops:

We see the proud king, riding
In his majestic and impressive state,
We hear the cheers, praising
His talent and expertise.

But, far more impressive is the scene
That recent history reveals:
Through the blazing streets of Richmond
Walks with Lincoln among his enemies.

Though there's no pride of position around him,
We hear everywhere:
"Thank you, Master Lincoln, bless the Lord."
« 19 »"The Savior is now here."

"O, sweet child, just touch him once!"
"Heaven must be almost here."
"I'm on the mount, oh God, I am."
"This man can now pass."

Oh, the poor uneducated people!
And still I know, to him
Before those cries of joy and love
Earth's best decorations faded.

And, I think, his heart that morning
Gave an excited beat;
For never again would his countrymen
Know the name of the slave!

LINCOLN

LINCOLN

FROM out the strong young west he came
In those warlike days of yore,
When Freedom's cry had reached the sky
And rung from shore to shore.

He knew the world was watching him,
He heard the words of scorn,
He felt the weight of a severed State
By cruel rebellion torn.

But calling on Jehovah,
He seized his mighty pen
And with a stroke, the chains he broke
From a million bonded men.

He was a dauntless leader
As among the host he moved,
And he gave his life in the time of strife
To save the cause he loved.

FROM the strong young west he came
In those aggressive times of the past,
When Freedom's call had reached the sky
And echoed from coast to coast.

He knew the world was watching him,
He heard the words of contempt,
He felt the burden of a divided State
Torn apart by brutal rebellion.

But calling on God,
He picked up his strong pen.
And with a single stroke, he broke the chains
Of a million enslaved people.

He was a fearless leader
As he walked among the troops,
And he gave his life during the conflict
To protect the cause he valued.

THE FLAG GOES BY
Henry Holcomb Bennett

THE FLAG GOES BY
Henry Holcomb Bennett

HATS off!
Along the street there comes
A blare of bugles, a ruffle of drums,
A flash of color beneath the sky;
Hats off!
The flag is passing by!

Blue and crimson and white it shines,
Over the steel-tipped, ordered lines.
Hats off!
The colors before us fly;
But more than the flag is passing by:

Sea fights and land fights, grim and great,
Fought to make and save the State;
Weary marches and sinking ships;
Cheers of victory on dying lips;

Days of plenty and years of peace;
March of a strong land's swift increase;
Equal justice, right, and law,
Stately honor and reverend awe;

Sign of a nation, great and strong
To ward her people from foreign wrong;
Pride and glory and honor,—all
Live in the colors to stand or fall.

Hats off!
Along the street there comes
A blare of bugles, a ruffle of drums;
And loyal hearts are beating high.
Hats off!
The flag is passing by!

Hats off!
Down the street comes
A blast of bugles, a ripple of drums,
A burst of color under the sky;
Respect!
The flag is passing by!

Blue, crimson, and white it shines,
Over the steel-tipped, organized lines.
Props!
The colors fly before us;
But more than just the flag is passing by:

Sea battles and land battles, tough and grand,
Fought to create and protect the nation;
Exhausting marches and sinking ships;
Cheers of victory on fading lips;

Days of abundance and years of peace;
The march of a strong nation’s rapid growth;
Equal justice, right, and law,
Majestic honor and deep respect;

Symbol of a nation, great and strong
To protect its people from foreign threats;
Pride, glory, and honor—everything
Lives in the colors that rise or fall.

Cheers!
Down the street comes
A blast of bugles, a ripple of drums;
And loyal hearts are beating high.
Kudos!
The flag is passing by!

THE STORY OF LINCOLN
C. C. Hassler

THE STORY OF LINCOLN
C. C. Hassler

TELL to the boys the story of Lincoln,
Tell it to them when early in youth,
Tell of his struggles for knowledge to fit him,
Guide him thro' manhood in honored truth.

Tell them of Lincoln; yes, tell them the story,
None more worthy of honor than he;
None was more proud of our national glory;
None was more true to the flag of the free.

Tell to the boys the story of Lincoln;
Tell of his loyalty, tell of his hate—
Not toward men, but the infamous measures
False to the nation, the home and the state.

Tell them; yes, tell them, his highest ambition
Was of all men in the nation to stand
Close to the hearts of the people who loved him—
Loved him and chose him to rule in the land.

Tell to the boys the sad story of Lincoln;
Tell of his trials when traitors defied
And spurned the old flag; how the nation's defenders
At his call rallied and sprang to his side;

Tell how he suffered when news of the battle
Told of disaster, of wounded and dead;
Tell how his great noble heart was oft gladdened
« 22 »When as proud victors our armies were led.

Tell them; yes, tell them the story and point them
Up to a standard he would applaud;
Loyal in life to the state and the nation,
True to one country, one flag and one God.

TELL the boys the story of Lincoln,
Share it with them while they’re still young.
Talk about his fight for knowledge to prepare him,
Help him navigate adulthood with honesty and integrity.

Tell them about Lincoln; yes, share his story,
No one deserves honor more than he does;
No one took more pride in our national glory;
No one was more loyal to the flag of freedom.

Tell the boys the story of Lincoln;
Talk about his loyalty, talk about his dislike—
Not toward people, but the vile actions
That betrayed the country, the home, and the government.

Tell them; yes, tell them, his greatest ambition
Was meant to be close to the hearts of the people who loved him—
Loved him and chose him to lead the land.


Tell the boys the sorrowful story of Lincoln;
Share his struggles when traitors went against him.
And rejected the old flag; how the nation’s defenders
Gathered at his call and stood by his side;

Tell how he suffered when news of battle
Brought news of tragedy, of injured and deceased;
Share how his noble heart was often uplifted
« 22 »When our armies marched forward as proud winners.

Tell them; yes, tell them the story and inspire them
To aspire to a standard he would commend;
Loyal in life to the state and the nation,
Loyal to one nation, one flag, and one God.

OLD FLAG
Hubbard Parker

OLD FLAG
Hubbard Parker

WHAT shall I say to you, Old Flag?
You are so grand in every fold,
So linked with mighty deeds of old,
So steeped in blood where heroes fell,
So torn and pierced by shot and shell,
So calm, so still, so firm, so true,
My throat swells at the sight of you,
Old Flag.

What of the men who lifted you, Old Flag,
Upon the top of Bunker Hill,
Who crushed the Britons' cruel will,
'Mid shock and roar and crash and scream,
Who crossed the Delaware's frozen stream,
Who starved, who fought, who bled, who died,
That you might float in glorious pride,
Old Flag?

What of the women brave and true, Old Flag,
Who, while the cannon thundered wild,
Sent forth a husband, lover, child,
Who labored in the field by day,
Who, all the night long, knelt to pray,
And thought that God great mercy gave,
If only freely you might wave,
« 23 » Old Flag?

What is your mission now, Old Flag?
What but to set all people free,
To rid the world of misery,
To guard the right, avenge the wrong,
And gather in one joyful throng
Beneath your folds in close embrace
All burdened ones of every race,
Old Flag.

Right nobly do you lead the way, Old Flag.
Your stars shine out for liberty,
Your white stripes stand for purity,
Your crimson claims that courage high
For honor's sake to fight and die.
Lead on against the alien shore!
We'll follow you, e'en to Death's door,
Old Flag!

WHAT should I say to you, Old Flag?
You are so impressive in every way,
So connected to great deeds of the past,
So soaked in the blood of fallen heroes,
So torn and broken by gunfire,
So calm, so steady, so strong, so true,
My throat swells at the sight of you,
Old Flag.

What about the men who raised you, Old Flag,
Atop Bunker Hill,
Who crushed the cruel will of the British,
Amidst shock and roar and chaos,
Who crossed the frozen Delaware,
Who starved, who fought, who bled, who died,
So that you could wave in glorious pride,
Vintage Flag?

What about the brave and true women, Old Flag,
Who, while the cannons roared,
Sent off a husband, lover, child,
Who worked in the fields by day,
Who, all night long, knelt in prayer,
Believing that God granted great mercy,
If only you could wave freely,
« 23 » Old flag?

What is your mission now, Old Flag?
What but to free all people,
To rid the world of suffering,
To uphold what’s right, avenge what’s wrong,
And gather everyone in a joyful crowd
Under your folds in a close embrace
All burdened souls of every background,
Vintage Flag.

You nobly lead the way, Old Flag.
Your stars shine for liberty,
Your white stripes stand for purity,
Your red represents the high courage
To fight and die for honor's sake.
Lead on towards the foreign shore!
We’ll follow you, even to Death's door,
Old Flag!

ABRAHAM LINCOLN
R. H. Stoddard

ABRAHAM LINCOLN
R. H. Stoddard

THIS man whose homely face you look upon,
Was one of Nature's masterful, great men;
Born with strong arms that unfought victories won,
Direct of speech, and cunning with the pen,
Chosen for large designs, he had the art
Of winning with his humor, and he went
Straight to his mark, which was the human heart;
Wise, too, for what he could not break he bent.
Upon his back a more than Atlas' load
The burden of the Commonwealth was laid;
He stooped, and rose up with it, though the road
Shot suddenly downwards, not a whit dismayed.
Hold, warriors, councillors, kings! All now give place
To this dead Benefactor of the Race!

This man, whose ordinary face you see,
Was one of Nature's truly great figures;
Born with strong arms that achieved victories without fighting,
Clear in his speech and clever with his writing,
Chosen for big plans, he had the skill
To win people over with his humor, and he aimed
Straight for his target, which was the human heart;
Wise, too, for what he could not break, he learned to bend.
On his back was a burden heavier than Atlas’,
The weight of the Commonwealth was placed upon him;
He stooped and lifted it, even when the path
Suddenly plunged downward, not in the least discouraged.
Hold, warriors, counselors, kings! All now stand aside
For this dead Benefactor of the Human Race!

ABRAHAM LINCOLN
William Cullen Bryant

ABRAHAM LINCOLN
William Cullen Bryant

This ode was written for the Funeral Services held in New York City.

This poem was written for the funeral services that took place in New York City.

OH, SLOW to smite and swift to spare,
Gentle and merciful and just!
Who in the fear of God, didst bear
The sword of power, a nation's trust.

In sorrow by thy bier we stand
Amid the awe that husheth all,
And speak the anguish of a land
That shook with horror at thy fall.

Thy task is done; the bonds are free;
We bear thee to an honored grave,
Whose proudest monument shall be
The broken fetters of the slave.

Pure was thy life; its bloody close
Has placed thee with the Sons of Light,
Among the noble host of those
Who perished in the cause of Right.

OH, slow to strike and quick to forgive,
Kind, compassionate, and fair!
Who, in the fear of God, carried
The sword of power, a nation's confidence.

In sorrow by your side we stand
In the quiet that surrounds us all,
And express the pain of a nation
That shook in disbelief at your fall.

Your work is done; the chains are gone;
We bring you to a respected grave,
Whose greatest monument will be
The broken chains of the slave.

Your life was pure; its bloody end
Has placed you among the Sons of Light,
Among the noble group of those
Who stood up for the cause of what is right.

ABRAHAM LINCOLN
Alice Cary

ABRAHAM LINCOLN Alice Cary

INSCRIBED TO "PUNCH"

DEDICATED TO "PUNCH"

NO GLITTERING chaplet brought from other lands!
As in his life, this man, in death, is ours;
His own loved prairies o'er his "gaunt, gnarled hands"
Have fitly drawn their sheet of summer flowers!

What need hath he now of a tardy crown,
His name from mocking jest and sneer to save?
When every ploughman turns his furrow down
As soft as though it fell upon his grave.

He was a man whose like the world again
Shall never see, to vex with blame or praise;
The landmarks that attest his bright, brief reign
Are battles, not the pomps of gala days!

The grandest leader of the grandest war
That ever time in history gave a place;
What were the tinsel flattery of a star
To such a breast! or what a ribbon's grace!

'Tis to th' man, and th' man's honest worth,
The nation's loyalty in tears upsprings;
Through him the soil of labor shines henceforth
High o'er the silken broideries of kings.

The mechanism of external forms—
The shrifts that courtiers put their bodies through,
Were alien ways to him—his brawny arms
Had other work than posturing to do!

Born of the people, well he knew to grasp
The wants and wishes of the weak and small;
Therefore we hold him with no shadowy clasp—
Therefore his name is household to us all.

Therefore we love him with a love apart
From any fawning love of pedigree—
His was the royal soul and mind and heart—
Not the poor outward shows of royalty.

Forgive us then, O friends, if we are slow
To meet your recognition of his worth—
We're jealous of the very tears that flow
From eyes that never loved a humble hearth.

NO GLITTERING crown brought from distant lands!
Just like in his life, this man belongs to us even in death;
His own cherished prairies over his "gaunt, gnarled hands"
He is completely covered with summer flowers!

What need does he have for a late crown,
To protect his name from ridicule and scorn?
When every farmer turns his plow down
As softly as if it landed on his grave.

He was a man like no other the world will see
To irritate with criticism or compliments;
The landmarks that mark his bright, brief reign
It's about battles, not the lavishness of celebrations!

The greatest leader of the greatest war
That history has recognized;
What is the superficial flattery of a star
To such a heart! What value does a ribbon have?

It’s to the man, and the man's true worth,
That the country's loyalty grows stronger with tears;
Through him the labor of the soil shines forever
High above the luxurious embroidery of royalty.

The superficial acts of society—
The routines that courtiers go through,
Were foreign to him—his strong arms
I had better things to do than to show off!

Born from the people, he understood well
The needs and wants of the weak and humble;
That’s why we hold him with no empty grip—
That’s why we all know his name.

That’s why we love him with a love that’s unique
From any flattering love for family heritage—
His was the soul, mind, and heart of a true leader—
Not the superficial aspects of royalty.

So forgive us, O friends, if we are slow
To acknowledge his value—
We're protective of the very tears that fall
From eyes that have never loved a simple home.

Wilbur D. Nesbit

Wilbur D. Nesbit

YOUR Flag and my Flag,
And how it flies today
In your land and my land
And half the world away!
Rose-red and blood-red
The stripes forever gleam;
Snow-white and soul-white—
The good forefather's dream;
Sky-blue and true-blue, with stars to gleam aright—
The gloried guidon of the day; a shelter through the night.

Your Flag and my Flag!
And, oh, how much it holds—
Your land and my land—
Secure within its folds!
Your heart and my heart
Beat quicker at the sight;
Sun-kissed and wind-tossed,
Red and blue and white.
The one Flag—the great Flag—the Flag for me and you—
Glorified all else beside—the red and white and blue!

Your Flag and my Flag!
To every star and stripe
The drums beat as hearts beat
And fifers shrilly pipe!
Your Flag and my Flag—
A blessing in the sky;
Your hope and my hope—
It never hid a lie!
« 27 » Home land and far land and half the world around,
Old Glory hears our glad salute and ripples to the sound!

Your Flag and my Flag,
And how it flows today
In your country and my country
And half the world away!
Rose and blood red
The stripes always reflect light;
Snow-white and pure-hearted—
The vision of our great ancestors;
Sky-blue and true-blue, with stars shining bright—
The glorious banner of the day; a shelter through the night.

Your flag and my flag!
And, oh, what it means—
Your land and my land—
Safe in its embrace!
Our hearts
Run faster when you see;
Sun-kissed and wind-blown,
Red, blue, and white.
The one Flag—the great Flag—the Flag for me and you—
Celebrating all else beside—the red and white and blue!

Your Flag and my Flag!
To every star and stripe
The drums pound like hearts pounding.
And the fifers play their tune!
Your flag and my flag—
A blessing from above;
Our hopes—
It never conceals a lie!
« 27 » Home land and distant land and half the world all around,
Old Glory hears our joyful salute and waves to the sound!

THE DEATH OF LINCOLN

THE DEATH OF LINCOLN

Charles G. Halpin

Charles G. Halpin

HE FILLED the nation's eye and heart,
An honored, loved, familiar name,
So much a brother that his fame
Seemed of our lives a common part.

His towering figure, sharp and spare,
Was with such nervous tension strung,
As if on each strained sinew swung
The burden of a people's care.

He was his country's, not his own;
He had no wish but for her weal;
Not for himself could think or feel,
But as a laborer for her throne.

O, loved and lost! thy patient toil
Had robed our cause in Victory's light;
Our country stood redeemed and bright,
With not a slave on all her soil.

A martyr to the cause of man,
His blood is freedom's eucharist,
And in the world's great hero list,
His name shall lead the van.

HE CAPTURED the nation's attention and hearts,
A cherished and well-known name,
He was so much like a brother that his fame
Seemed like a shared part of our lives.

His tall figure, lean and sharp,
Was filled with such intense energy,
As if each tense muscle was burdened
The weight of a people's worries.

He belonged to his country, not to himself;
He only wanted her to be happy;
He could only think about her or have feelings for her,
But as a worker for her throne.

O, loved and lost! your patient effort
Had shrouded our cause in the light of Victory;
Our country felt refreshed and vibrant,
With not a slave on any of her land.

A martyr for the cause of humanity,
His blood is a sacred gift for freedom,
And in the world's famous list of heroes,
His name shall lead the way.

O CAPTAIN! MY CAPTAIN!

O Captain! My Captain!

Walt Whitman

Walt Whitman

Abraham Lincoln was killed by John Wilkes Booth, almost exactly four years after the first shot was fired at Fort Sumter. This song and Edwin Markham's poem on Lincoln are two of the greatest tributes ever paid to that hero.

Abraham Lincoln was killed by John Wilkes Booth, almost four years after the first shot was fired at Fort Sumter. This song and Edwin Markham's poem about Lincoln are two of the greatest tributes ever made to that hero.

O CAPTAIN! my Captain! Our fearful trip is done,
The ship has weather'd every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead!

O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills,
For you bouquets and ribbon'd wreaths—for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here, Captain! dear father!
This arm beneath your head!
It is some dream that on the deck
You've fallen cold and dead.

My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor'd safe and sound, its voyage closed and done,
« 29 » From fearful trip the victor ship comes in with object won;
Exult O shores, and ring O bells!
But I, with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.

O CAPTAIN! My Captain! Our scary journey is over,
The ship has survived every storm, the prize we were after is won,
The harbor is close, I hear the bells, the people are all celebrating,
While eager eyes follow the steady course, the vessel strong and bold;
But oh heart! heart! heart!
Oh, the bleeding drops of red,
Where my Captain lies on the deck,
Fallen cold and lifeless!

O Captain! My Captain! Wake up and hear the bells;
Get up—for you the flag is raised—for you the bugle plays,
For you bouquets and ribboned wreaths—for you the shores are crowded,
For you they call, the swaying crowd, their eager faces turning;
Here, Captain! Dear Dad!
This arm under your head!
Is it some dream that on the deck
You've grown cold and lifeless.

My Captain doesn't respond, his lips are pale and still,
My father doesn’t feel my arm, he has no pulse or will,
The ship is anchored safe and sound, its journey closed and done,
« 29 » From a scary trip, the victorious ship comes in with its prize;
Celebrate, O shores, and ring, O bells!
But I walk slowly,
Walk the deck where my Captain rests,
Fallen cold and lifeless.

ABRAHAM LINCOLN

ABRAHAM LINCOLN

Joel Benton

Joel Benton

SOME opulent force of genius, soul, and race,
Some deep life-current from far centuries
Flowed to his mind and lighted his sad eyes,
And gave his name, among great names, high place.

But these are miracles we may not trace,
Nor say why from a source and lineage mean
He rose to grandeur never dreamt or seen
Or told on the long scroll of history's space.

The tragic fate of one broad hemisphere
Fell on stern days to his supreme control,
All that the world and liberty held dear
Pressed like a nightmare on his patient soul.

Martyr beloved, on whom, when life was done,
Fame looked, and saw another Washington!

SOME powerful blend of genius, spirit, and heritage,
A powerful life force from long ago
Flowed into his mind and brightened his sad eyes,
And gave his name, among great names, a high status.

But these are wonders we can’t truly understand,
Nor explain why coming from a humble background
He achieved a level of greatness that no one had ever imagined or witnessed.
Or noted on the extensive scroll of history's timeline.

The tragic fate of an entire hemisphere
Fell on dark days under his final guidance,
All that the world and liberty cherished
Pressed like a nightmare on his resilient spirit.

Beloved martyr, on whom, when life was over,
Fame looked, and saw another Washington!

ON THE LIFE-MASK OF ABRAHAM LINCOLN

ON THE LIFE-MASK OF ABRAHAM LINCOLN

Richard Watson Gilder

Richard Watson Gilder

THIS bronze doth keep the very form and mold
Of our great martyr's face. Yes, this is he:
That brow all wisdom, all benignity;
That human humorous mouth; those cheeks that hold
« 30 » Like some harsh landscape all the summer's gold;
That spirit fit for sorrow, as the sea
For storms to beat on; the lone agony
Those silent, patient lips too well foretold.
Yes, this is he who ruled a world of men
As might some prophet of the elder day—
Brooding above the tempest and the fray
With deep-eyed thought and more than mortal ken.
A power was his beyond the touch of art
Or armed strength—his pure and mighty heart.

THIS bronze captures the very shape and features
Here's the face of our great martyr. Yes, this is him:
That forehead full of wisdom and kindness;
That human, playful mouth; those cheeks that carry
« 30 » Like a harsh landscape filled with all the summer's gold;
That spirit prepared for sadness, just like the ocean.
Is prepared for storms to rage; the solitude of pain
Those quiet, patient lips predicted too well.
Yes, this is the one who led a world of men
Like an ancient prophet—
Observant of the chaos and the conflict
With deep, insightful thoughts and more than human insight.
He had a power that transcended art.
Or physical strength—his strong and powerful heart.

James Russell Lowell

James Russell Lowell

This is a fragment of the noble Commemoration Ode delivered at Harvard College to the memory of those of its students who fell in the war which kept the country whole.

This is a section of the esteemed Commemoration Ode delivered at Harvard College to remember the students who lost their lives in the war that preserved the nation's unity.

SUCH was he, our Martyr-Chief,
Whom late the Nation he had led,
With ashes on her head,
Wept with the passion of an angry grief:
Forgive me, if from present things I turn
To speak what in my heart will beat and burn,
And hang my wreath on this world-honored urn.
Nature, they say, doth dote,
And cannot make a man
Save on some worn-out plan,
Repeating us by rote:
For him her Old-World moulds aside she threw,
And, choosing sweet clay from the breast
Of the unexhausted West,
With stuff untainted shaped a hero new,
Wise, steadfast in the strength of God, and true.
How beautiful to see
Once more a shepherd of mankind indeed,
Who loved his charge, but never loved to lead;
One whose meek flock the people joyed to be,
Not lured by any cheat of birth,
But by his clear-grained human worth,
And brave old wisdom of sincerity!
They knew that outward grace is dust;
They could not choose but trust
In that sure-footed mind's unfaltering skill,
And supple-tempered will
That bent like perfect steel to spring again and thrust.
His was no lonely mountain-peak of mind,
Thrusting to thin air o'er our cloudy bars,
A sea-mark now, now lost in vapors blind;
Broad prairie rather, genial, level-lined,
Fruitful and friendly for all human kind,
Yet also nigh to heaven and loved of loftiest stars.

* * * * *

I praise him not; it were too late;
And some innative weakness there must be
In him who condescends to victory
Such as the Present gives, and cannot wait,
Safe in himself as in a fate.
So always firmly he:
He knew to bide his time,
And can his fame abide,
Still patient in his simple faith sublime,
Till the wise years decide.
Great captains, with their guns and drums,
Disturb our judgment for the hour,
But at last silence comes;
These all are gone, and, standing like a tower,
Our children shall behold his fame.
The kindly-earnest, brave, foreseeing man,
Sagacious, patient, dreading praise, not blame,
New birth of our new soil, the first American.

SUCH was he, our Martyr-Chief,
Whom recently the Nation he had led,
With ashes on her head,
Mourned with the intensity of angry grief:
Forgive me if I shift from current matters
To express what in my heart will beat and burn,
And lay my wreath on this world-honored urn.
They say nature is foolish,
And can’t create a human
Without using an old plan,
Using us by habit:
For him, she cast aside her Old-World molds,
And, selecting pure clay from the heart
Of the unexplored West,
With untainted material, shaped a new hero,
Wise, steadfast in the strength of God, and true.
So beautiful to see
Once again a leader of humanity indeed,
Who cared for his people but never desired to lead;
One whose humble flock the people loved to be,
Not influenced by any incorrect idea of heritage,
But by his true human value,
And the courageous old wisdom of sincerity!
They realized that external charm means nothing;
They couldn't help but trust.
In that reliable mind's unwavering skill,
And flexible will
That bent like perfect steel to rise again and push.
His mind wasn't a lonely mountain peak,
Reaching into the空中 above our cloudy obstacles,
A lighthouse now, now shrouded in fog;
Instead, he was a wide-open prairie, inviting and flat.
Beneficial and welcoming for everyone,
Yet also close to heaven and cherished by the highest stars.

Please provide the text you would like me to modernize.

I don't praise him; it's too late;
And there must be some inherent weakness
In anyone who settles for victory
Such as the Present offers, and cannot wait,
Confident in himself as if in his destiny.
So he always stood strong:
He knew how to wait for his moment,
And his fame could last,
Still patient in his simple, sublime faith,
Until the right time comes.
Great leaders, with their cannons and drums,
Disrupt our judgment for a moment,
But eventually silence arrives;
These all are gone, and, standing tall like a tower,
Our children will witness his fame.
The kind, sincere, brave, and perceptive man,
Wise, patient, fearing praise, not blame,
The new birth of our land, the first American.

OUT of the mellow West there came
A man whom neither praise nor blame
Could gild or tarnish; one who rose
With fate-appointed swiftness far
Above his friends, above his foes;
Whose life shone like a splendid star,
To fill his people's hearts with flame;
Who never sought for gold or fame;
But gave himself without a price—
A willing, humble sacrifice—
An erring Nation's Paschal Lamb—
The great, gaunt, patient Abraham.

I never saw his wrinkled face,
Where tears and smiles disputed place;
I never touched his homely hand,
That seemed in benediction raised,
E'en when it emphasized command,
What time the fires of battle blazed,
The hand that signed the act of grace
Which freed a wronged and tortured race;
And yet I feel that he is mine—
My country's; and that light divine
Streams from the saintly oriflamme
Of great, gaunt, patient Abraham.

He was our standard-bearer; he
Caught up the thread of destiny,
And round the breaking Union bound
And wove it firmly. To his task
He rose gigantic; nor could sound
Of menace daunt him. Did he ask
For homage when glad Victory
Followed his flags from sea to sea?
Nay, but he staunched the wounds of war;
« 33 » And you owe all you have and are—
And I owe all I have and am
To great, gaunt, patient Abraham.

The pillars of our temple rocked
Beneath the mighty wind that shocked
Foundations that the fathers laid;
But he upheld the roof and stood
Fearless, while others were afraid;
His sturdy strength and faith were good,
While coward knees together knocked,
And traitor hands the door unlocked,
To let the unbeliever in.
He bore the burden of our sin,
While the rebel voices rose to damn
The great, gaunt, patient Abraham.

And then he died a martyr's death—
Forgiveness in his latest breath,
And peace upon his dying lips.
He died for me; he died for you;
Heaven help us if his memory slips
Out of our hearts! His soul was true
And clean and beautiful. What saith
Dull history that reckoneth
But coldly? That he was a man
Who loved his fellows as few can;
And that he hated every sham—
Our great, gaunt, patient Abraham.

Majestic, sweet, was Washington;
And Jefferson was like the sun—
He glorified the simplest thing
He touched; and Andrew Jackson seems
The impress of a fiery king
To leave upon us: these in dreams
Are oft before us; but the one
Whose vast work was so simply done—
« 34 » The Lincoln of our war-tried years—
Has all our deepest love; in tears,
We chant the In Memoriam
Of great, gaunt, patient Abraham.

OUT of the calm West came
A man whom neither praise nor blame
Could enhance or diminish; one who rose
With destined speed far
Above his friends, above his enemies;
Whose life sparkled like a bright star,
To inspire his people's hearts with passion;
Who never sought wealth or fame;
But gave himself without a cost—
A willing, humble sacrifice—
A misguided Nation's Paschal Lamb—
The great, lean, patient Abraham.

I never saw his wrinkled face,
Where tears and smiles vied for space;
I never touched his ordinary hand,
That seemed raised in blessing,
Even when it stressed command,
As the fires of battle burned,
The hand that signed the act of mercy
Which freed a wronged and tortured race;
And yet I feel that he is mine—
My country's; and that divine light
Streams from the saintly oriflamme
Of great, lean, patient Abraham.

He was our standard-bearer; he
Picked up the thread of destiny,
And around the breaking Union bound
And wove it tightly to his task.
He rose massive; nor could sound
He was intimidated by the threat. Did he ask?
For respect when glad Victory
Followed his flags from coast to coast?
No, but he healed the wounds of war;
« 33 » And you owe all you have and are—
And I owe all I have and am
To great, lean, patient Abraham.

The pillars of our temple shook
Beneath the mighty wind that struck
Foundations that the founders laid;
But he supported the roof and remained standing.
Fearless, while others were afraid;
His solid strength and faith were powerful,
While cowardly knees knocked together,
And traitor hands unlocked the door,
To let the unbeliever in.
He carried the weight of our sin,
While the rebel voices threatened to curse
The great, lean, patient Abraham.

And then he died a martyr's death—
Forgiveness in his final breath,
And peace upon his dying lips.
He died for me; he died for you;
Heaven help us if his memory fades
From our hearts! His soul was genuine.
And pure and beautiful. What does
Dull history say that counts
But coldly? That he was a man
Who loved his fellow humans as few can;
And that he hated every pretense—
Our great, lean, patient Abraham.

Majestic, sweet, was Washington;
And Jefferson was like the sun—
He elevated the simplest thing
He touched; and Andrew Jackson appears
The mark of a fiery king
To depart from us: these in dreams
Are often before us; but the one
Whose vast work was so simply done—
« 34 » The Lincoln of our war-torn years—
Has all our deepest love; in tears,
We honor the In Memoriam
Of great, lean, patient Abraham.

Edwin Markham

Edwin Markham

This poem, which is considered one of the two best tributes ever paid to Lincoln, the other being Walt Whitman's O Captain! My Captain! is a tremendously virile and earnest summing up of the meaning of the man (Lincoln) and his life; a lesson in patriotism and a masterful piece of hero worship.

This poem, considered one of the two greatest tributes to Lincoln, along with Walt Whitman's O Captain! My Captain!, offers a strong and genuine reflection on who Lincoln was and what his life symbolized; it's a lesson in patriotism and a remarkable expression of admiration.

WHEN the Norn-Mother saw the Whirlwind Hour
Greatening and darkening as it hurried on,
She left the Heaven of Heroes and came down
To make a man to meet the mortal need.
She took the tried clay of the common road—
Clay warm yet with the genial heat of Earth,
Dashed through it all a strain of prophecy;
Tempered the heap with thrill of mortal tears;
Then mixed a laughter with the serious stuff.
It was a stuff to hold against the world,
A man to match our mountains, and compel
The stars to look our way and honor us.

The color of the ground was in him, the red earth;
The tang and odor of the primal things;
The rectitude and patience of the rocks;
The gladness of the wind that shakes the corn;
« 35 » The courage of the bird that dares the sea;
The justice of the rain that loves all leaves;
The pity of the snow that hides all scars;
The loving-kindness of the wayside well;
The tolerance and equity of light
That gives as freely to the shrinking weed
As to the great oak flaring to the wind—
To the grave's low hill as to the Matterhorn
That shoulders out the sky.

And so he came.
From prairie cabin up to Capitol,
One fair Ideal led our chieftain on.
Forevermore he burned to do his deed
With the fine stroke and gesture of a king.
He built the rail-pile as he built the State,
Pouring his splendid strength through every blow,
The conscience of him testing every stroke,
To make his deed the measure of a man.

So came the Captain with the mighty heart;
And when the step of Earthquake shook the house,
Wrenching the rafters from their ancient hold,
He held the ridgepole up, and spiked again
The rafters of the Home. He held his place—
Held the long purpose like a growing tree—
Held on through blame and faltered not at praise.
And when he fell in whirlwind, he went down
As when a kingly cedar green with boughs
Goes down with a great shout upon the hills,
And leaves a lonesome place against the sky.

WHEN the Norn-Mother noticed the Whirlwind Hour
Growing and darkening as it rushed forward,
She left the Heaven of Heroes and came down
To create a man to meet the needs of mortals.
She took the seasoned clay of the common path—
Clay still warm with the life-giving heat of Earth,
Incorporated a hint of prophecy;
Mixed in the essence of human tears;
Then blended laughter with the serious stuff.
It was a material strong enough to face the world,
A man who could stand alongside our mountains and make
The stars pay attention and honor us.

The color of the earth was in him, the red soil;
The scent and flavor of the primal things;
The integrity and patience of the rocks;
The joy of the wind that rustles the corn;
« 35 » The bravery of the bird that challenges the sea;
The fairness of the rain that nurtures all leaves;
The compassion of the snow that covers all scars;
The warmth of the wayside well;
The acceptance and balance of light
That generously shares with the humble weed
As well as the mighty oak swaying in the wind—
To the low hill of the grave as to the Matterhorn
That pushes against the sky.

And so he arrived.
From a prairie cabin to the Capitol,
One noble Ideal guided our leader forward.
He forever yearned to accomplish his task
With the grace and poise of a king.
He built the rail-pile as he built the State,
Pouring his remarkable strength into every strike,
His conscience evaluating every move,
To make his actions the benchmark of a man.

So came the Captain with the mighty heart;
And when the Earthquake shook the house,
Tearing the rafters from their ancient hold,
He supported the ridgepole and fixed again
The rafters of the Home. He stood his ground—
Held the long vision like a growing tree—
Persevered through criticism and never flinched at praise.
And when he fell in the whirlwind, he went down
As when a regal cedar, lush with branches,
Falls with a great roar upon the hills,
Leaving a lonely spot against the sky.

[D] From Lincoln and Other Poems by Edwin Markham. By permission of The McClure Company and the author. Copyright, 1901, by Edwin Markham.

[D] From Lincoln and Other Poems by Edwin Markham. Used with permission from The McClure Company and the author. Copyright, 1901, by Edwin Markham.

This poem was revised by Mr. Markham especially for use in this book. Copyright, 1908, by Edwin Markham. Reprinting in whatever form is expressly forbidden, unless through special permission of the author.

This poem was updated by Mr. Markham specifically for this book. Copyright, 1908, by Edwin Markham. Reprinting in any form is strictly prohibited without special permission from the author.

Tom Taylor[E]

Tom Taylor[E]

YOU lay a wreath on murdered Lincoln's bier,
You, who with mocking pencil wont to trace,
Broad for the self-complacent British sneer,
His length of shambling limb, his furrowed face,
His gaunt, gnarled hands, his unkempt, bristling hair,
His garb uncouth, his bearing ill at ease,
His lack of all we prize as debonair,
Of power or will to shine, of art to please.

You, whose smart pen backed up the pencil's laugh,
Judging each step as though the way were plain:
Reckless, so it could point its paragraph
Of chief's perplexity, or people's pain.
Beside this corpse that bears for winding-sheet
The Stars and Stripes he lived to rear anew,
Between the mourner at his head and feet,
Say, scurril-jester, is there room for you?
Yes! He had lived to shame me from my sneer,
To lame my pencil and confute my pen;
To make me own this hind of princes peer,
This rail-splitter, a true-born king of men.
My shallow judgment I had learned to rue,
Noting how to occasion's height he rose,
How his quaint wit made home truth seem more true,
How, iron-like, his temper grew by blows.

How humble, yet how hopeful, he could be:
How in good fortune and in ill the same:
« 37 » Nor bitter in success, nor boastful he,
Thirsty for gold, nor feverish for fame.
He went about his work—such work as few
Ever had laid on head and heart and hand—
As one who knows, where there's a task to do,
Man's honest will must Heaven's good grace command;
Who trusts the strength will with the burden grow,
That God makes instruments to work His will,
If but that will we can arrive to know,
Nor tamper with the weights of good and ill.
So he went forth to battle, on the side
That he felt clear was Liberty's and Right's,
As in his peasant boyhood he had plied
His warfare with rude Nature's thwarting mights—
The uncleared forest, the unbroken soil,
The iron-bark, that turns the lumberer's axe,
The rapid that o'erbears the boatman's toil,
The prairie hiding the mazed wanderer's tracks,
The ambushed Indian, and the prowling bear—
Such were the deeds that helped his youth to train:
Rough culture—but such trees large fruit may bear,
If but their stocks be of right girth and grain.

So he grew up a destined work to do,
And lived to do it: four long-suffering years.
Ill-fate, ill-feeling, ill-report lived through,
And then he heard the hisses changed to cheers,
The taunts to tribute, the abuse to praise,
And took both with the same unwavering mood:

Till, as he came on light, from darkling days
And seemed to touch the goal from where he stood,
A felon hand, between the goal and him,
Reached from behind his back, a trigger prest,
And those perplexed and patient eyes were dim,
Those gaunt, long-laboring limbs were laid to rest!
The words of mercy were upon his lips,
« 38 » Forgiveness in his Heart and on his pen,
When this vile murderer brought swift eclipse
To thoughts of peace on earth, good will to men.

The Old World and the New, from sea to sea,
Utter one voice of sympathy and shame.
Sore heart, so stopped when it at last beat high!
Sad life, cut short just as its triumph came!
A deed accurst! Strokes have been struck before
By the assassin's hand, whereof men doubt
If more of horror or disgrace they bore;
But thy foul crime, like Cain's, stands darkly out,
Vile hand, that brandest murder on a strife,
Whate'er its grounds, stoutly and nobly striven,
And with the martyr's crown crownest a life
With much to praise, little to be forgiven.

YOU laid a wreath on the bier of murdered Lincoln,
You, who with a mocking pencil used to sketch,
Broad for the arrogant British sneer,
His long, awkward limbs, his furrowed face,
His bony, gnarled hands, his messy, bristling hair,
His rough clothing, his uneasy stance,
His lack of all we value as charming,
Of power or will to shine, of skills to please.

You, whose sharp pen supported the pencil’s jest,
Judging each move as if the path were obvious:
Reckless, so it could highlight its paragraph
Of the leader’s confusion, or the people’s suffering.
Beside this corpse that has for a shroud
The Stars and Stripes he lived to raise anew,
Between the mourners at his head and feet,
Say, scurrilous fool, is there room for you?
Yes! He had lived to shame me from my sneer,
To cripple my pencil and disprove my pen;
To make me acknowledge this common man as noble,
This rail-splitter, a true-born king of men.
My shallow judgment I learned to regret,
Noticing how he rose to the occasion,
How his quirky wit made home truth seem more true,
How, like iron, his temperament grew with trials.

How humble, yet how hopeful, he could be:
How in both good fortune and bad he remained the same:
« 37 » Nor bitter in success, nor boastful he,
Thirsty for money, nor feverish for fame.
He went about his work—such work as few
Ever had laid on head and heart and hands—
As one who knows, where there’s a task to do,
Man's honest will must command Heaven's good grace;
Who trusts that strength will grow with the burden,
That God makes instruments to carry out His will,
If only that will we can strive to know,
Nor tamper with the scales of good and bad.
So he went forth to battle, on the side
That he clearly felt was for Liberty and Right,
As in his peasant boyhood he had fought
His battles against Nature’s harsh obstacles—
The dense forest, the unbroken soil,
The iron-bark that resists the lumberjack’s axe,
The rapid that overwhelms the boatman’s toil,
The prairie hiding the lost wanderer’s tracks,
The ambushed Native, and the lurking bear—
Such were the deeds that shaped his youth:
Rough cultivation—but such trees can bear large fruit,
If only their stocks are of the right size and type.

So he grew up with a destined purpose,
And lived to fulfill it: four long-suffering years.
Bad fate, bad feelings, bad reputation persisted,
And then he heard the hisses turn to cheers,
The taunts turn to tributes, the abuse to praise,
And accepted both with the same calm attitude:

Until, as he emerged from dark days
And seemed to reach the goal from where he stood,
A criminal hand, between the goal and him,
Reached from behind his back, pulling the trigger,
And those perplexed and patient eyes dimmed,
Those gaunt, hard-working limbs were laid to rest!
The words of mercy were on his lips,
« 38 » Forgiveness in his heart and on his pen,
When this wicked murderer brought swift darkness
To thoughts of peace on earth, good will to men.

The Old World and the New, from coast to coast,
Utter one voice of sympathy and shame.
Sore heart, which stopped when it finally beat high!
Sad life, cut short just as its triumph arrived!
A cursed act! Strikes have been dealt before
By the assassin’s hand, of which men doubt
If they bore more horror or disgrace;
But your foul crime, like Cain’s, stands out darkly,
Vile hand, that branded murder on a conflict,
Whatever its reasons, stoutly and nobly fought,
And with the martyr's crown crowned a life
With much to admire, little to be forgiven.

[E] The authorship of this poem seems to be surrounded by somewhat of a doubt. Mark Lemon, editor of Punch at the time when this was written, is sometimes accredited with writing the tribute; then again, Spielman's History of Punch ascribes it to Shirley Brooks, who also was editor of Punch for a few years.

[E] The authorship of this poem seems to be somewhat uncertain. Mark Lemon, who was the editor of Punch when this was written, is sometimes credited with writing the tribute; however, Spielman's Punch History attributes it to Shirley Brooks, who also served as the editor of Punch for a few years.

The poem first appeared anonymously in the London Punch, May 6, 1865. Accompanying it was an engraving of Brittania mourning at Lincoln's bier and placing a wreath thereon. Columbia was represented as weeping at the head of the President, and at the foot of the bier was a slave with broken shackles. Underneath was the inscription, "Brittania sympathizes with Columbia."

The poem first appeared anonymously in the London Hit, May 6, 1865. Along with it was an engraving of Brittania mourning at Lincoln's casket and placing a wreath on it. Columbia was shown weeping at the head of the President, and at the foot of the casket was a slave with broken chains. Below was the inscription, "Brittania sympathizes with Columbia."

It is now generally believed that the author of the famous tribute was the journalist and dramatist, Tom Taylor, the author of the comedy, Our American Cousin, a performance of which President Lincoln was witnessing at the time of his assassination.

It is now widely accepted that the author of the well-known tribute was journalist and playwright Tom Taylor, who wrote the comedy, Our American Cousin, which President Lincoln was watching at the time of his assassination.

Henry Tyrrell

Henry Tyrrell

LINCOLN arose! the masterful, great man,
Girt with rude grandeur, quelling doubt and fear,—
A more than king, yet in whose veins there ran
The red blood of the people, warm, sincere,
Blending of Puritan and Cavalier.
A will whose force stern warriors came to ask,
A heart that melted at a mother's tear—
These brought he to his superhuman task:
Over a tragic soul he wore a comic mask.

He was the South's child more than of the North!
His soul was not compact of rock and snow,
But such as old Kentucky's soil gives forth,—
The splendid race of giants that we know,
« 39 » Firm unto friend, and loyal unto foe,
Such birthrights all environment forestall,
Resistlessly their tides of impulse flow.
This man who answered to his country's call
Was full of human faults, and nobler for them all.

He is a life, and not a legend, yet:
For thousands live who shook him by the hand,
Millions whose sympathies with his were set,
Whose hopes and griefs alike with his were grand,
Who deeply mourned his passing. They demand
Our homage to the greatest man they saw,—
They, his familiars; and throughout our land
The years confirm them, over race and law:
Even of rancor now the voice is hush'd in awe.

LINCOLN got up! The incredible, great man,
Surrounded by rugged greatness, calming doubt and fear,—
More than a king, yet in his veins flowed
The genuine, warm blood of the people,
A mix of Puritan and Cavalier.
A will so strong that tough warriors came to seek it,
A heart that softened at a mother’s tear—
These he brought to his extraordinary challenge:
Over a tragic spirit, he wore a funny mask.

He was more the child of the South than the North!
His soul wasn’t made of rock and ice,
But like the rich soil of old Kentucky—
The amazing breed of giants that we know,
« 39 » Steadfast to friends and loyal to foes,
Such inheritances all surroundings cannot change,
Their tides of instinct flow without restraint.
This man who answered his country’s call
Had plenty of human flaws, and they made him nobler.

He is a life, not a legend, yet:
For thousands live who shook his hand,
Millions whose feelings were in line with his,
Whose hopes and sorrows mirrored his grandly,
Who deeply mourned his passing. They want
Our respect for the greatest man they knew—
They were his friends; and across our country
The years confirm them, transcending race and law:
Even the bitterness is now silenced in reverence.

Francis Miles Finch

Francis Miles Finch

The women of Columbus, Mississippi, had shown themselves impartial in the offerings made to the memory of the dead. They strewed flowers alike on the graves of the Confederates and of the National soldiers.

The women of Columbus, Mississippi, showed no bias in the tributes honoring the deceased. They decorated the graves of both Confederate and Union soldiers with flowers.

BY THE flow of the inland river,
Whence the fleets of iron have fled,
Where the blades of the grave-grass quiver,
Asleep are the ranks of the dead;
Under the sod and the dew,
Waiting the judgment day;
Under the one, the Blue;
Under the other, the Gray.

These in the robings of glory,
Those in the gloom of defeat;
All with the battle-blood gory,
« 40 »In the dusk of eternity meet;
Under the sod and the dew,
Waiting the judgment day;
Under the laurel, the Blue;
Under the willow, the Gray.

From the silence of sorrowful hours,
The desolate mourners go,
Lovingly laden with flowers,
Alike for the friend and the foe;
Under the sod and the dew,
Waiting the judgment day;
Under the roses, the Blue;
Under the lilies, the Gray.

So, with an equal splendor,
The morning sun-rays fall,
With a touch impartially tender,
On the blossoms blooming for all;
Under the sod and the dew,
Waiting the judgment day;
Broidered with gold, the Blue,
Mellowed with gold, the Gray.

So, when the summer calleth,
On forest and field of grain,
With an equal murmur falleth
The cooling drip of the rain;
Under the sod and the dew,
Waiting the judgment day;
Wet with the rain, the Blue;
Wet with the rain, the Gray.

Sadly, but not with upbraiding,
The generous deed was done;
In the storm of the years that are fading,
« 41 »No braver battle was won;
Under the sod and the dew,
Waiting the judgment day;
Under the blossoms, the Blue;
Under the garlands, the Gray.

No more shall the war cry sever,
Or the winding rivers be red;
They banish our anger forever,
When they laurel the graves of our dead.
Under the sod and the dew,
Waiting the judgment day;
Love and tears for the Blue,
Tears and love for the Gray.

BY THE flow of the inland river,
Where the iron ships have gone,
Where the blades of the grave-grass sway,
The ranks of the dead rest in peace;
Under the soil and the dew,
Waiting for judgment day.
Under the one, the Blue;
Under the other, the Gray.

These in the robes of glory,
Those in the shadow of defeat;
All with the blood of battle,
« 40 »In the fading light of forever, we gather;
Under the soil and the dew,
Waiting for judgment day;
Under the laurel, the Blue;
Under the willow, the Gray.

From the silence of sorrowful hours,
The grieving mourners walk.
Carrying flowers with love,
For friends and enemies;
Under the soil and the dew,
Waiting for judgment day;
Under the roses, the Blue;
Under the lilies, the Gray.

So, with equal splendor,
The morning sun shines,
With a gentle touch for all,
About the flowers that are blooming for everyone;
Under the soil and the dew,
Waiting for judgment day;
Adorned with gold, the Blue;
Softened with gold, the Gray.

So, when summer calls,
In fields and forests,
With an equal murmur falls
The refreshing sound of rain;
Under the soil and the dew,
Waiting for judgment day;
Wet with the rain, the Blue;
Soaked by the rain, the Gray.

Sadly, but not with blame,
The good deed was done;
In the storm of fading years,
« 41 »No bolder battle was fought;
Under the soil and the dew,
Waiting for judgment day;
Under the blooms, the Blue;
Under the garlands, the Gray.

No more will the war cry divide,
Or the twisting rivers flow red;
They erase our anger forever,
When they put flowers on the graves of our loved ones.
Under the soil and the dew,
Waiting for judgment day;
Love and tears for the Blue,
Tears and love for the Gray.

John Mellen Thurston

John Mellen Thurston

Extract from an address delivered before the Chicago Lincoln Association, February 12, 1891.

Excerpt from a speech given to the Chicago Lincoln Association on February 12, 1891.

GOD'S providence has raised up a leader in every time of a people's exceeding need.

God's guidance has always brought forth a leader in times of great need for the people.

Moses, reared in the family of Pharaoh, initiated in the sublime mysteries of the priestcraft of Egypt, partaking of the power and splendor of royal family and favor, himself a ruler and almost a king, was so moved by the degraded and helpless condition of his enslaved brethren that for their sake he undertook what to human understanding seemed the impossible problem of deliverance....

Moses, raised in Pharaoh's household, trained in the deep mysteries of Egypt's priesthood, enjoying the power and glory of royal life and favor, was so affected by the pitiful and powerless state of his enslaved people that he took on what seemed to be an impossible challenge: to free them...

A peasant girl, a shepherdess, dreaming on the hills of France, feels her simple heart burn with the story of her country's wrongs. Its army beaten, shattered and dispersed; its fields laid waste; its homes pillaged and burned; its people outraged and murdered; its prince fleeing for life before a triumphant and remorseless foe. Hope for France was dead. Heroes, there were none to save. What could a woman do?

A peasant girl, a shepherdess, dreaming on the hills of France, feels her simple heart ignite with the story of her country's injustices. Its army defeated, broken, and scattered; its fields destroyed; its homes looted and burned; its people brutalized and killed; its prince running for his life from a victorious and merciless enemy. Hope for France was gone. There were no heroes to save them. What could a woman do?

Into the soul of this timid, unlettered mountain maid there swept a flood of glorious resolve. Some power, unknown to man, drew back the curtain from the glass of fate and bade her look therein. As in a vision, she sees a new French army, courageous, hopeful, victorious, invincible. A girl, sword in hand, rides at its head; before it the invaders flee. She sees France restored, her fields in bloom, her cottages in peace, her people happy, her prince crowned.

Into the soul of this shy, uneducated mountain girl there surged a wave of glorious determination. Some power, unknown to humanity, pulled back the curtain of fate and urged her to look inside. In a vision, she sees a new French army, brave, optimistic, victorious, unstoppable. A girl, sword in hand, leads the charge; before it, the invaders retreat. She sees France restored, her fields flourishing, her cottages peaceful, her people joyful, her prince crowned.

The rail-splitter of Illinois became President of the United States in the darkest hour of the nation's peril. Inexperienced and untrained in governmental affairs, he formulated national politics, overruled statesmen, directed armies, removed generals, and, when it became necessary to save the Republic, set at naught the written Constitution. He amazed the politicians and offended the leaders of his party; but the people loved him by instinct, and followed him blindly. The child leads the blind man through dangerous places, not by reason of controlling strength and intelligence, but by certainty of vision. Abraham Lincoln led the nation along its obscure pathway, for his vision was above the clouds, and he stood in the clear sunshine of God's indicated will.

The rail-splitter from Illinois became President of the United States during the darkest time of the nation's crisis. Inexperienced and untrained in politics, he shaped national policies, overruled seasoned politicians, commanded armies, replaced generals, and, when necessary to save the Republic, disregarded the written Constitution. He surprised the politicians and upset the leaders of his party; but the people instinctively loved him and followed him without question. A child leads a blind man through dangerous areas, not because of strength and intelligence, but because of a clear vision. Abraham Lincoln guided the nation through its unclear path, for his vision was above the clouds, and he stood in the bright light of what he believed was God's will.

So stands the mountain while the murky shadows thicken at its base, beset by the tempest, lashed by the storm, darkness and desolation on every side; no gleam of hope in the lightning's lurid lances, nor voice of safety in the crashing thunder-bolts; but high above the top-most mist, vexed by no wave of angry sound, kissed by the sun of day, wooed by the stars at night, the eternal summit lifts its snowy crest, crowned with the infinite serenity of peace.

So the mountain stands while the dark shadows gather at its base, battered by the storm, with darkness and emptiness all around; there's no glimmer of hope in the bright flashes of lightning, nor any sense of safety in the booming thunder; but far above the highest mist, untouched by the chaos below, bathed in sunlight during the day and caressed by the stars at night, the eternal peak raises its snowy top, adorned with the everlasting calm of peace.

"And God said—let there be light, and there was light." Light on the ocean, light on the land.

"And God said—let there be light, and there was light." Light on the ocean, light on the land.

"And God said—let there be light, and there was light." Light from the cross of calvary, light from the souls of men.

"And God said—let there be light, and there was light." Light from the cross of Calvary, light from the souls of people.

"And God said—let there be light, and there was « 43 » light'." Light from the emancipation proclamation, light on the honor of the nation, light on the Constitution of the United States, light on the black faces of patient bondmen, light on every standard of freedom throughout the world.

"And God said—let there be light, and there was « 43 » light." Light from the Emancipation Proclamation, light on the honor of the nation, light on the Constitution of the United States, light on the black faces of patient bondmen, light on every standard of freedom around the world.

From the hour in which the cause of the Union became the cause of liberty, from the hour in which the flag of the Republic became the flag of humanity, from the hour in which the stars and stripes no longer floated over a slave; yea, from the sacred hour of the nation's new birth, that dear old banner never faded from the sky, and the brave boys who bore it never wavered in their onward march to victory....

From the moment the Union’s cause became the cause of freedom, from the moment the Republic’s flag became the flag of humanity, from the moment the stars and stripes no longer flew over a slave; yes, from the sacred moment of the nation’s rebirth, that beloved old banner has never faded from the sky, and the brave soldiers who carried it never faltered in their march toward victory....

After a quarter of a century of peace and prosperity, all children of our common country kneel at the altar of a reunited faith. The Blue and Gray lie in eternal slumber side by side. Heroes all, they fell face to face, brother against brother, to expiate a nation's sin. The lonely firesides and the unknown graves, the memory of the loved, the yearning for the lost, the desolated altars and the broken hopes, are past recall. The wings of our weak protests beat in vain against the iron doors of fate. But through the mingled tears that fall alike upon the honored dead of both, the North and South turn hopeful eyes to that new future of prosperity and power, possible only in the shelter of the dear old flag. To the conquerors and the conquered, to the white man and the black, to the master and the slave, Abraham Lincoln was God's providence.

After 25 years of peace and prosperity, all the children of our shared country kneel at the altar of a united faith. The Blue and Gray lie in eternal rest side by side. Heroes all, they fell facing each other, brother against brother, to atone for a nation’s sin. The lonely homes and unknown graves, the memories of loved ones, the longing for the lost, the deserted altars and shattered hopes are beyond recall. Our feeble protests beat in vain against the unyielding doors of fate. Yet through the shared tears that fall equally on the honored dead from both sides, the North and South look toward a hopeful future of prosperity and strength, possible only under the shelter of the beloved old flag. To both the victors and the vanquished, to both white and black, to both master and slave, Abraham Lincoln was God’s providence.

James Russell Lowell

James Russell Lowell

This poetic effusion of Mr. Hosea Biglow was preceded by the Idyl of the Bridge and the Monument, which set forth another side of American feeling at the British words and deeds consequent on the unauthorized capture, by Commodore Wilkes, of the Trent, conveying to England two Confederate Commissioners.

This lyrical expression by Mr. Hosea Biglow followed the Idyl of the Bridge and the Monument, which highlighted a different side of American feelings about the British reaction to Commodore Wilkes' unauthorized seizure of the Trent, which was transporting two Confederate Commissioners to England.

IT DON'T seem hardly right, John,
When both my hands was full,
To stump me to a fight, John—
Your cousin, tu, John Bull!
Ole Uncle S., sez he, "I guess
We know it now," sez he,
"The lion's paw is all the law,
Accordin' to J. B.,
Thet's fit for you an' me!"

You wonder why we're hot, John?
Your mark wuz on the guns,
The neutral guns, thet shot, John,
Our brothers an' our sons:
Ole Uncle S., sez he, "I guess
There's human blood," sez he,
"By fits an' starts, in Yankee hearts,
Though 't may surprise J. B.
More'n it would you an' me."

Ef I turned mad dogs loose, John,
On your front-parlor stairs,
Would it jest meet your views, John,
To wait and sue their heirs?
Ole Uncle S., sez he, "I guess,
I only guess," sez he,
"Thet ef Vattel on his toes fell,
'T would kind o' rile J. B.,
Ez wal ez you an' me!"

Who made the law thet hurts, John,
Heads I win,—ditto tails?
"J. B." was on his shirts, John,
Onless my memory fails.
Ole Uncle S., sez he, "I guess
(I'm good at thet)," sez he,
"Thet sauce for goose ain't jest the juice
For ganders with J. B.,
« 45 »No more than you or me!"

When your rights was our wrongs, John,
You didn't stop for fuss,—
Britanny's trident prongs, John,
Was good 'nough law for us.
Ole Uncle S., sez he, "I guess,
Though physic's good," sez he,
"It doesn't foller that he can swaller
Prescriptions signed 'J. B.,'
Put up by you an' me!"

We own the ocean, tu, John:
You mus'n' take it hard,
If we can't think with you, John,
It's jest your own back-yard.
Ole Uncle S., sez he, "I guess,
If thet's his claim," sez he,
"The fencin'-stuff 'll cost enough
To bust up friend J. B.,
Ez wal ez you an' me!"

Why talk so dreffle big, John,
Of honor when it meant
You didn't care a fig, John,
But jest for ten per cent?
Ole Uncle S., sez he, "I guess
He's like the rest," sez he:
"When all is done, it's number one
Thet's nearest to J. B.,
Ez wal ez you an' me!"

We give the critters back, John,
Cos Abram thought 't was right;
It warn't your bullyin' clack, John,
Provokin' us to fight.
Ole Uncle S., sez he, "I guess
We've a hard row," sez he,
"To hoe jest now; but thet somehow,
May happen to J. B.,
« 46 »Ez wal ez you an' me!"

We ain't so weak an' poor, John,
With twenty million people,
An' close to every door, John,
A school-house an' a steeple.
Ole Uncle S., sez he, "I guess
It is a fact," sez he,
"The surest plan to make a Man
Is, think him so, J. B.,
Ez much ez you an' me!"

Our folks believe in Law, John;
An' it's for her sake, now,
They've left the ax an' saw, John,
The anvil an' the plough.
Ole Uncle S., sez he, "I guess,
Ef 't warn't for law," sez he,
"There'd be one shindy from here to Indy;
An' thet don't suit J. B.
(When 't ain't twixt you an' me!)"

We know we've got a cause, John,
Thet's honest, just an' true;
We thought 't would win applause, John,
Ef nowheres else, from you.
Ole Uncle S., sez he, "I guess
His love of right," sez he,
"Hangs by a rotten fibre o' cotton:
There's nature in J. B.,
Ez wal ez you an' me!"

The South says, "Poor folks down!" John,
An' "All men up!" say we,—
White, yaller, black, an' brown, John:
Now which is your idee?
Ole Uncle S., sez he, "I guess,
John preaches wal," sez he;
"But, sermon thru, an' come to du,
Why, there's the old J. B.
« 47 »A crowdin' you an' me!"

Shall it be love, or hate, John,
It's you thet's to decide;
Ain't your bonds held by Fate, John,
Like all the world's beside?
Ole Uncle S., sez he, "I guess
Wise men forgive," sez he,
"But not forget; an' some time yet
Thet truth may strike J. B.,
Ez wal ez you an me!"

God means to make this land, John,
Clear thru, from sea to sea,
Believe an' understand, John,
The wuth o' bein' free.
Ole Uncle S., sez he, "I guess,
God's price is high," sez he:
"But nothin' else than wut He sells
Wears long, an' thet J. B.
May larn, like you an' me!"

IIT DOESN'T seem quite right, John,
When both my hands were busy,
To challenge me to a fight, John—
Your cousin, too, John Bull!
Old Uncle S. says, "I guess
"We know it now," he says,
"The lion's paw is all the law,
According to J.B.,
"That's perfect for you and me!"

You wonder why we're upset, John?
Your mark was on the guns,
The neutral guns that shot, John,
Our brothers and sons:
Old Uncle S. says, "I think
"There's human blood," he says,
"By fits and starts, in Yankee hearts,
Though it might surprise J. B.
"More than it would for you and me."

If I let mad dogs loose, John,
On your living room stairs,
Would it really meet your approval, John,
Should we wait and take legal action against their heirs?
Old Uncle S. says, "I think,
"I can only guess," he says,
"That if Vattel fell on his toes,
It would sort of annoy J. B.,
Just like you and me!

Who made the law that hurts, John,
Heads I win, tails too?
"J. B." was on his shirts, John,
Unless I misremember.
Old Uncle S. says, "I think
"I'm good at that," he says.
"That sauce for the goose isn't just the juice
For guys with J. B.,
« 45 »"Not any more than you or me!"

When your rights were our wrongs, John,
You didn't hesitate at all,—
Britanny's trident prongs, John,
Were good enough laws for us.
Old Uncle S. says, "I guess,
"Though physics is good," he says,
"It doesn't follow that he can swallow
Prescriptions signed 'J. B.,'
"Put up by you and me!"

We own the ocean too, John:
Don't take it personally,
If we can't think like you, John,
It's just your backyard.
Old Uncle S. says, "I think,
"If that's his claim," he says,
"The fencing stuff will cost enough
To break up with friend J. B.,
Just like you and me!

Why talk so dreadfully big, John,
Of honor when it mattered
You didn't care a bit, John,
But just for ten percent?
Old Uncle S. says, "I suppose
"He's just like the others," he says.
"When all is done, it's number one
That's closest to J.B.,
"Just like you and me!"

We gave the critters back, John,
Because Abram believed it was the right thing to do;
It wasn't your bullying talk, John,
Inciting us to fight.
Old Uncle S. says, "I guess
"We've got a tough road ahead," he says,
"To hoe right now; but that somehow,
May happen to J.B.,
« 46 »"Just like you and me!"

We aren't so weak and poor, John,
With 20 million people,
And close to every door, John,
A school and a steeple.
Old Uncle S. said, "I think
"It’s a fact," he says,
"The surest way to make a Man
Is, think of him that way, J. B.,
"As much as you and I!"

Our folks believe in Law, John;
And now it's for her benefit,
They've left the axe and saw, John,
The anvil and the plow.
Old Uncle S. says, "I think,
"If it weren't for the law," he says,
"There'd be one mess from here to Indy;
And that doesn't work for J. B.
(When it's not between you and me!)

We know we've got a cause, John,
That's honest, fair, and real;
We thought it would win applause, John,
If not from anywhere else, from you.
Old Uncle S. says, "I think
"His love for what is right," he says,
"Hangs by a rotten fiber of cotton:
There's nature in J.B.,
Just like you and me!

The South says, "Poor folks down!" John,
And "All men up!" we say,—
White, yellow, black, and brown, John:
What's your idea?
"Old Uncle S. says, 'I guess,
"John preaches well," he says;
"But, sermon through, and come to do,
Look, there's the old J. B.
« 47 »"Us crowding together!"

Shall it be love, or hate, John,
It's up to you to decide;
Aren't your bonds held by Fate, John,
Like everyone else's life?
Old Uncle S. says, "I think
"Wise men forgive," he says,
"But not forget; and some time yet
That truth might hit J. B.,
Just like you and me!

God means to make this land, John,
Clear from coast to coast,
Believe and understand, John,
The value of being free.
Old Uncle S. says, "I guess, __A_TAG_PLACEHOLDER_0__,"
"The cost of following God is steep," he says.
"But nothing else than what He sells
Wears long, and that J. B.
"Maybe they'll learn, just like you and me!"

George Lansing Taylor

George Lansing Taylor

NO SLAVE beneath that starry flag,
The emblem of the free!
No fettered hand shall wield the brand
That smites for liberty:
No tramp of servile armies
Shall shame Columbia's shore,
For he who fights for freedom's rights
Is free for evermore!

* * * * *

Go tell the brave of every land,
Where'er that flag has flown—
The tyrant's fear, the patriot's cheer,
« 48 »Through every clime and zone—
That now no more forever
Its stripes are slavery scars;
No tear-drops stain its azure plain
Nor dim its golden stars.

No slave beneath that grand old flag!
Forever let it fly,
With lightning rolled in every fold,
And flashing victory!
God's blessing breathe around it!
And when all strife is done,
May freedom's light, that knows no night,
Make every star a sun!

NO SLAVE under that starry flag,
The symbol of freedom!
No chained hand will wield the brand
That fights for freedom:
No march of servile armies
Will shame Columbia's coast,
For anyone who fights for freedom's rights
Is free forever!

Understood. Please provide the text you'd like me to modernize.

Go tell the brave from every land,
Wherever that flag has waved—
The tyrant's fear, the patriot's cheer,
« 48 »In every area and zone—
That now no longer forever
Its stripes are marks of slavery;
No tears stain its blue field
Nor dull its golden stars.

No slave under that grand old flag!
Let it soar forever,
With lightning in every fold,
And flashing victory!
God's blessings surround it!
And when all conflict has ended,
May freedom's light, that knows no night,
Make every star a sun!

Grave Lincoln came, strong-handed, from afar—
The mighty Homer of the lyre of war!
'T was he who bade the raging tempest cease,
Wrenched from his strings the harmony of peace,
Muted the strings that made the discord—Wrong,
And gave his spirit up in thund'rous song,
Oh, mighty Master of the mighty lyre!
Earth heard and trembled at thy strains of fire:
Earth learned of thee what Heav'n already knew,
And wrote thee down among the treasured few!

Serious Lincoln came, strong and decisive, from far away—
The great Homer of the war’s anthem!
He was the one who commanded the raging storm to cease,
Strummed the melody of peace,
Silenced the strings that created discord—Injustice,
And offered his spirit in a powerful song,
Oh, mighty Master of the grand lyre!
The Earth heard and trembled at your passionate notes:
The Earth learned from you what Heaven already understood,
And remembered you among the treasured few!

Paul Laurence Dunbar, 1899

Paul Laurence Dunbar, 1899

From humble parentage and poverty, old Nature reared him,
And the world beheld her ablest, noblest man;
Few were his joys, many and terrible his trials,
But grandly he met them as only truly great souls can!
Our Nation's Martyr, pure, honest, patient, tender—
Thou who didst suffer agony e'en for the slave—
Our flag's defender, our brave, immortal teacher!
I lay this humble tribute on thy honored grave.

From humble beginnings and poverty, nature raised him,
And the world saw her most capable, noblest man;
He had few joys, but faced many and terrible challenges,
Yet he confronted them grandly, as only truly great souls can!
Our Nation's Martyr, pure, honest, patient, and compassionate—
You who suffered agony even for the enslaved—
Our flag's defender, our brave, immortal teacher!
I place this humble tribute on your honored grave.

Paul DeVere, 1899

Paul DeVere, 1899

We rest in peace where these sad eyes
Saw peril, strife, and pain;
His was the nation's sacrifice,
And ours the priceless gain.

We find peace where these sorrowful eyes
Saw danger, struggle, and suffering;
His was the country's sacrifice,
And ours the priceless reward.

John G. Whittier

—John G. Whittier

His patriotism, his integrity, his purity, his moderation will contribute largely to make the American people patriotic, honest, and upright.... His life, his teaching, and his character will prolong the life of the Republic.

His patriotism, integrity, purity, and moderation will significantly inspire the American people to be patriotic, honest, and upright.... His life, teachings, and character will guarantee the Republic's endurance.

Isaac N. Arnold

Isaac N. Arnold

His mind was strong and deep, sincere and honest, patient and enduring: having no vices, and having only negative defects, with many positive virtues. His is a strong, honest, sagacious, manly, noble life. He stands in the foremost ranks of men in all ages—their equal—one of the best types of this Christian civilization.

His mind was powerful and deep, authentic and honest, patient and strong: free from vices and having only minor flaws, along with many positive traits. He lives a strong, truthful, wise, masculine, and noble life. He stands among the best men of all time—his equal—one of the greatest examples of this Christian civilization.

W. H. Herndon

W. H. Herndon

There is in the whole history of this Republic not one man, from whom we all—wherever born and whatever our political opinions—can learn more instructive and more inspiring lessons as to what true patriotism is: and there is but one who is fully his peer in this respect. To be pitied is, indeed, the American whose way of feeling and thinking will not allow him to look with infinite patriotic pride upon Abraham Lincoln.

There has never been a person in the entire history of this Republic from whom we all—regardless of where we were born or our political beliefs—can learn such valuable and inspiring lessons about genuine patriotism: and there is only one person who is truly his equal in this aspect. It's truly unfortunate for any American whose emotions and thoughts stop them from seeing Abraham Lincoln with great patriotic pride.

H. E. VonHolst

H. E. VonHolst

Lincoln was the grandest figure of the fiercest civil war.... Wealth could not purchase, power could not awe, this divine, this loving man. He knew no fear except the fear of doing wrong. Hating slavery, pitying the master—seeking to conquer not persons, but prejudices. He was the embodiment of the self-denial, the « 50 » courage, the hope, and the nobility of the nation. He spoke, not to inflame, not to upbraid, but to convince. He raised his hands, not to strike, but in benediction.

Lincoln was the most remarkable figure of the toughest civil war.... Wealth couldn’t buy him, and power couldn’t intimidate this divine, compassionate man. He knew no fear except the fear of doing wrong. He detested slavery but felt sympathy for the master—he aimed to conquer not people, but biases. He embodied the selflessness, courage, hope, and dignity of the nation. He spoke, not to provoke, not to scold, but to persuade. He raised his hands, not to strike, but in blessing.

Robert G. Ingersoll

—Robert G. Ingersoll

Lincoln was the humblest of the humble before his conscience, greatest of the great before history.

Lincoln viewed himself as the most modest person around, yet he's regarded as one of the greatest figures in history.

Castelar

—Castelar

Abraham Lincoln was the vindication of poverty. He gave glory to the lowly. In the light of his life the cabin became conspicuous; the commonest toil no longer common, and the poor man's hardship a road to honor. It put shame on the prejudice of wealth and birth, and dignity on common manhood. The poor received from him inspiring hope; he taught the humblest youth that there was for him a path to power.

Abraham Lincoln symbolized the victory of the poor. He gave dignity to those in need. His life turned the cabin into a symbol; everyday work was seen as valuable, and the hardships of the less fortunate became a path to respect. He confronted the prejudices of wealth and status, upholding the worth of regular people. The poor saw him as a beacon of hope; he demonstrated to even the most disadvantaged youth that there was a path to greatness for them.

Luther Laflin Mills

Luther Laflin Mills

May one who fought in honor for the South
Uncovered stand and sing by Lincoln's grave?

* * * * *

He was the North, the South, the East, the West,
The thrall, the master, all of us in one;
There was no section that he held the best;
His love shone as impartial as the sun;
And so revenge appealed to him in vain,
He smiled at it, as at a thing forlorn,
And gently put it from him, rose and stood
A moment's space in pain,
Remembering the prairies and the corn
And the glad voices of the field and wood.

May those who fought honorably for the South
Come together to stand and sing by Lincoln's grave?

Sure, please provide the text you would like modernized.

He represented the North, the South, the East, the West,
The servant, the master, all of us wrapped in one;
No region did he favor over the rest;
His love shone as unbiased as the sun;
And so revenge could not sway him,
He smiled at it, as if it were something lost,
Gently setting it aside, he rose and stood
For a moment in grief,
Thinking of the prairies and the corn
And the joyful sounds of the field and woods.

Maurice Thompson, 1893

Maurice Thompson, 1893

They bowed before the bier of him who had been prophet, priest and king to his people, who had struck the shackles from the slave, who had taught a higher sense of duty to the free men, who had raised the Nation to a loftier conception of faith and hope and charity.

They bowed before the coffin of the person who had been a prophet, priest, and king to his people, who had liberated the enslaved, who had inspired a stronger sense of duty in free men, and who had enhanced the Nation's understanding of faith, hope, and charity.

James G. Blaine

James G. Blaine

His was a name so pure, a life so grand,
That Lincoln's a magic name throughout the land.

His name was so pure, his life so amazing,
That Lincoln is a legendary name everywhere.

Jos. C. Sindelar

Jos. C. Sindelar

In his mentality, he shone in judgment, common sense, consistency, persistence and in knowledge of men. In his words, he was candid and frank, but accurate and concise, speaking sturdy Anglo-Saxon unadorned, powerful in its simplicity and the subdued enthusiasm of earnest thought. In his sentiments, he was kind and patient and brave. No leader ever more completely combined in his personality the graces of gentleness with rugged determination. In his morals, Truth was his star; Honesty the vital air of his living. In his religion, he was faithful as a giant; Providence was his stay; he walked with God.

He had a great mindset, excelling in judgment, common sense, consistency, persistence, and understanding people. His speech was open and straightforward, yet precise and concise, using strong, simple English that was powerful in its clarity and the quiet passion of genuine thought. He was kind, patient, and courageous in his feelings. No leader ever combined gentleness with unwavering strength in his character like he did. Truth was his guiding principle; honesty was crucial to his life. In his faith, he was devoted like a giant; Providence was his support, and he walked with God.

Luther Laflin Mills

Luther Laflin Mills

His constant thought was his country and how to serve it.

His main concern was his country and how to contribute to it.

Charles Sumner

Charles Sumner

His career teaches young men that every position of eminence is open before the diligent and worthy.

His career demonstrates to young men that any chance for success is open to those who put in the effort and merit it.

Bishop Matthew Simpson

Bishop Matthew Simpson

Such a life and character will be treasured forever as the sacred possession of the American people and of mankind.

Such a life and character will always be valued as a treasured legacy of the American people and of humanity.

James A. Garfield

James A. Garfield

By his fidelity to the True, the Right, the Good, he gained not only favor and applause, but what is better than all, love.

Through his dedication to Truth, Justice, and Goodness, he earned not just praise and recognition, but even more importantly, love.

W. D. Howells

W. D. Howells

He was warm-hearted; he was generous; he was magnanimous, he was most truly, as he afterwards said on a memorable occasion, "With malice toward none, with charity for all."

He was kind, generous, and big-hearted. He truly lived by what he later described on a memorable occasion: "Without malice toward anyone, with kindness for everyone."

Alexander H. Stephens

Alexander H. Stephens

Let us build with reverent hands to the type of this simple, but sublime life, in which all types are honored.

Let's craft a version of this simple, but meaningful life, where every type is appreciated.

Henry W. Grady

Henry W. Grady

Lincoln was the purest, the most generous, the most magnanimous of men.

Lincoln was the most authentic, the most giving, and the most kind-hearted of men.

General W. T. Sherman

General W. T. Sherman

His chief object, the ideal to which his whole soul was devoted, was the preservation of the Union.

His primary objective, the ideal he dedicated himself to, was to maintain the Union's unity.

Alexander H. Stephens

Alexander H. Stephens

O honest face, which all men knew!
O tender heart, but known to few!

Oh, truthful. face, which everyone knew!
Oh tender heart, but known to few!

R. H. Stoddard

R. H. Stoddard

Who can be what he was to the people,
What he was to the State?
Shall the ages bring us another
As good and as great?

Who can be what he was to the people,
What was he to the State?
Will the future provide us with another
As good as great?

Phoebe Cary

—Phoebe Cary

Lincoln was the greatest President in American history, because in a time of revolution he comprehended the spirit of American institutions.

Lincoln was the greatest President in American history because, during a period of chaos, he grasped the core of American institutions.

Lyman Abbott

—Lyman Abbott

He was one of the few great rulers whose wisdom increased with his power, and whose spirit grew gentler and tenderer as his triumphs were multiplied.

He was one of the few exceptional leaders whose wisdom increased with his power, and whose character became kinder and more empathetic as he achieved more victories.

James A. Garfield

James A. Garfield

With all his disappointments from failures on the part of those to whom he had trusted command, and treachery on the part of those who had gained his confidence but to betray it, I never heard him utter a complaint, nor cast a censure for bad conduct or bad faith. It was his nature to find excuses for his adversaries. In his death the nation lost its greatest hero.

Despite all his disappointments from failures by those he had trusted to lead him, and the betrayal from those who had gained his trust only to break it, I never heard him complain or criticize anyone for their bad behavior or dishonesty. It was in his nature to make excuses for his opponents. With his passing, the nation lost its greatest hero.

U. S. Grant

Ulysses S. Grant

The best way to estimate the value of Lincoln is to think what the condition of America would be today if he had never lived—never been President.

The best way to assess Lincoln's impact is to think about what America would be like today if he had never lived—if he had never been President.

Walt Whitman

—Walt Whitman

He had a face and manner which disarmed suspicion, which inspired confidence, which confirmed good will.

He had a face and vibe that made people feel comfortable, built trust, and emphasized good intentions.

R. W. Emerson

R. W. Emerson

The life of Lincoln should never be passed by in silence by old or young. He touched the log cabin and it became the palace in which greatness was nurtured. He touched the forest and it became to him a church in which the purest and noblest worship of God was observed. In Lincoln there was always some quality which fastened him to the people and taught them to keep time to the music of his heart. He reveals to us the beauty of plain backwoods honesty.

The life of Lincoln should never be ignored by anyone, young or old. He changed the log cabin into a birthplace of greatness. He made the forest a sanctuary where the truest form of worship took place. Lincoln always had a way of connecting with people and inspiring them to feel the beat of his heart. He demonstrates the beauty of true, straightforward honesty.

Prof. David Swing

Prof. David Swing

The shepherd of the people! that old name that the best rulers ever craved. What ruler ever won it like this dead President of ours? He fed us with counsel when we « 54 » were in doubt, with inspiration when we faltered, with caution when we would be rash, with calm, trustful cheerfulness through many an hour when our hearts were dark. He fed hungry souls all over the country with sympathy and consolation. He spread before the whole land feasts of great duty, devotion and patriotism, on which the land grew strong. He taught us the sacredness of government, the wickedness of treason. He made our souls glad and vigorous with the love of liberty that was his.

The shepherd of the people! That timeless title that the greatest leaders have always aspired to. Which leader has truly earned it like our late President did? He guided us with wisdom when we were lost, inspired us when we hesitated, advised us to be cautious when we acted impulsively, and provided calm, reassuring optimism in difficult times. He nurtured the hopes of people across the nation with empathy and support. He presented the entire country with significant opportunities for service, dedication, and patriotism, which united us. He taught us the value of government and the treachery of betrayal. He filled our hearts with the joy and passion for freedom that he represented.

Rev. Phillips Brooks

Rev. Phillips Brooks

QUOTATIONS FROM LINCOLN

Quotes from Lincoln

WITH malice toward none, with charity for all, with firmness in the right, as God gives us to see the right, let us strive on to finish the work we are in; to bind up the nation's wounds; to care for him who shall have borne the battle, and for his widow, and his orphan; to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations.

WITH no hatred for anyone, with kindness for everyone, with determination to do what is right as God shows us, let’s keep working to complete our task; to heal the nation's wounds; to support those who have fought in battle, along with their families; to do everything we can to create and maintain a fair and lasting peace among ourselves and with all nations.

I have one vote, and I shall always cast that against wrong as long as I live.

I've got one vote, and I will always cast it against what's wrong for as long as I live.

In every event of life, it is right makes might.

In all event of life, it's doing the right thing that gives you strength.

The mystic cords of memory, stretching from every battlefield and patriot grave, to every living heart and hearthstone, all over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the angels of our nature.

The deep connections of memory, reaching from every battlefield and grave of heroes, to every living heart and home across this vast land, will once again strengthen the chorus of the Union, when they are inevitably stirred, as they surely will be, by the best parts of our nature.

Let us have faith that right makes might, and in that faith let us to the end dare to do our duty as we understand it.

Let us believe that doing what is right gives us strength, and with that belief, let us bravely fulfill our responsibilities as we see them.

Gold is good in its place; but loving, brave, patriotic men are better than gold.

Gold is valuable in its own right, but loving, courageous, and patriotic people are worth more than gold.

God must like common people, or he would not have made so many of them.

God must appreciate ordinary people, or he wouldn't have created so many of them.

The reasonable man has long since agreed that intemperance is one of the greatest, if not the greatest, of all evils among mankind.

The reasonable person has long recognized that excessive indulgence is one of the biggest, if not the biggest, evils among humanity.

The purposes of the Almighty are perfect and must prevail, though we erring mortals may fail accurately to predict them in advance.

The purposes of the Almighty are flawless and will succeed, even though we, as imperfect humans, might struggle to foresee them accurately.

No men living are more worthy to be trusted than those who toil up from poverty.

No guys alive today are more deserving of trust than those who work hard to rise out of poverty.

Of the people, when they rise in mass in behalf of the Union and the liberties of their country, truly may it be said: 'The gates of hell cannot prevail against them.'

Of the people, when they come together in great numbers for the Union and the freedoms of their nation, it can truly be said: 'The gates of hell cannot stand against them.'

No man is good enough to govern another man without that other man's consent.

No one is good enough to rule over another person without that person's consent.

Let not him who is homeless pull down the house of another, but let him labor diligently to build one for himself.

Don't let someone who is homeless destroy another person's house, but let them work hard to build one for themselves.

You may fool all of the people some of the time, and some of the people all of the time, but you cannot fool all of the people all of the time.

You can trick everyone some of the time, and some people all of the time, but you can't trick everyone all of the time.

Better give your path to the dog—even killing the dog would not cure the bite.

Improved to give your way to the dog—even killing the dog wouldn't fix the bite.

The way for a young man to rise is to improve himself in every way he can, never suspecting that anybody is hindering him.

The way for a young man to succeed is to better himself in every possible way, never thinking that anyone is holding him back.

I say "try," for if we never try, we never succeed.

I said "try," because if we don’t try, we won’t succeed.

The pioneer in any movement is not generally the best man to bring that movement to a successful issue.

The person who starts a movement isn't usually the best one to see it through to a successful conclusion.

Have confidence in yourself, a valuable if not indispensable quality.

Have confidence in yourself, a valuable and essential quality.

Let us judge not, that we be not judged.

Let’s not judge others so we won’t be judged ourselves.

When you have an elephant on hand, and he wants to run away, better let him run.

When you have an elephant nearby, and he wants to escape, it's best to let him go.

It is best not to swap horses in the middle of a stream.

It's best not to change horses in the middle of a stream.

This country, with its institutions, belongs to the people who inhabit it.

This country, with its institutions, belongs to the people who live here.

A nation may be said to consist of its territory, its people, and its laws.

A country can be defined by its land, its people, and its laws.

When you can't remove an obstacle, plough around it!

When you can't move an obstacle, work your way around it!

God bless my mother! All I am or hope to be I owe to her.

God bless my mother! Everything I am or hope to become, I owe to her.

I do not think much of a man who is not wiser today than he was yesterday.

I'm in. not think highly of a man who is not wiser today than he was yesterday.

Suspicion and jealousy never did help any man in any situation.

Doubt and jealousy never helped anyone in any situation.



Laura R. Smith

Laura R. Smith

A PATRIOTIC CANTATA, DRILL, AND MEDLEY IN THREE SCENES FOR A WHOLE SCHOOL

A PATRIOTIC CANTATA, DRILL, AND MEDLEY IN THREE SCENES FOR A WHOLE SCHOOL

This entertainment is especially adapted for primary and intermediate grades, although pupils of all grades may participate.

This entertainment is specifically intended for elementary and middle school students, but kids of all grades are welcome to participate.

CHARACTERS

CHARACTERS

Six Sailor Guys
Six Soldier Boys
Messaging app
Scene I
Multiple Drummer Boys
Any even number of soldiers
An Army Captain
Scott, a sentinel Veteran Several Black Boys
Scene II
Three Guys
Two Girls
Seven Little Kids
Scene III

SCENE I—Before the War

SCENE I—Before the War

Six Sailor Boys enter from the right, Six Soldier Boys enter from the left. They march forward in two lines, carrying flags, pause and sing. Cross flags or wave them while singing the last four lines.

Six Sailor Guys come in from the right, Six Soldier Boys enter from the left. They march ahead in two lines, holding flags, stop and sing. Cross the flags or wave them while singing the last four lines.

Sailor and Soldier Boys (sing):

Sailor and Soldier Boys

Tune: COLUMBIA, THE GEM OF THE OCEAN

Tune: COLUMBIA, THE GEM OF THE OCEAN

The flag of our nation we're bringing,
The banner for me and for you;
As songs of dear Lincoln we're singing,
We stand 'neath the Red, White and Blue,
O flag of a nation united,
We love your bright folds and your stars,
We march 'neath the bonnie bright banner,
This good land of freedom is ours.
We'll stand by the Red, White and Blue,
We'll stand by the Red, White and Blue,
The flag of our nation forever,
We'll stand by the Red, White and Blue!

See, the bonnie bright banners are streaming,
We wave them all high in the air,
The Red, White and Blue now is gleaming,
Beloved by all men everywhere.
Oh, long may the banner be waving,
Upheld by soldiers and sailors true;
Three cheers for the flag of our nation,
We'll stand by the Red, White and Blue,
We'll stand by the Red, White and Blue,
We'll stand by the Red, White and Blue,
The flag of our nation forever,
We'll stand by the Red, White and Blue.

The flag of our nation is what we're bringing,
The banner is for you and me;
As we sing the songs of dear Lincoln,
We stand under the Red, White, and Blue,
Oh flag of a united nation,
We adore your vibrant colors and your stars,
We march beneath the beautiful bright banner,
This amazing land of freedom belongs to us.
We'll stand by the Red, White, and Blue,
We'll stand by the Red, White, and Blue,
The flag of our nation forever,
We'll stand by the Red, White, and Blue!

Look, the beautiful bright banners are flying,
We wave them high in the air,
The Red, White, and Blue is now shining,
Loved by everyone everywhere.
Oh, may the banner keep waving,
Supported by devoted soldiers and sailors;
Three cheers for the flag of our nation,
We’ll stand by the Red, White, and Blue,
We'll stand by the Red, White, and Blue,
We'll stand by the Red, White, and Blue,
The flag of our nation forever,
We'll stand by the Red, White, and Blue.

(Boys march forward and back, Soldiers in one line abreast, Sailors in another, following. Lines march right and left, Sailors from one side of stage, Soldiers from the other, pass each other several times at center of stage. Halt at center of stage, the two lines facing each other, close ranks at back and spread out at front, forming an open triangle, thus [Greek: lambda].)

(Guys walk forward and back, Troops in a single line side by side, Sailors in another, following. Lines move right and left, Seafarers from one side of the stage, Troops from the other, passing each other several times at the center of the stage. Stop at the center of the stage, the two lines facing each other, tighten ranks at the back and spread out at the front, forming an open triangle, like this [Greek: lambda].)

Soldiers:

Soldiers

We're the boys of the land!
We'll always be true
To the flag of the Union,
The Red, White and Blue.

We're the guys of the land!
We'll always stay loyal
To the flag of the Union,
The Red, White, and Blue.

Sailors:

Sailors:

We're the boys of the sea!
Wherever we sail
The Red, White and Blue
Shall weather each gale.

We're the guys of the ocean!
Wherever we go
The Red, White, and Blue
Will face any challenge.

All (waving flags):

All (waving flags):

The boys of the land and the boys of the sea,
Sing a song for our banner, the flag of the free,
The Union forever, for me and for you,
Three cheers for our banner, the Red, White and Blue.

The boys from the land and the boys from the sea,
Sing a song for our banner, the flag of the free,
The Union forever, for you and for me,
Three cheers for our banner, the Red, White, and Blue.

All (sing, waving flags during chorus):

All (singing, waving flags during chorus):

HURRAH FOR THE FLAG! [F]

Hooray for the flag! __A_TAG_PLACEHOLDER_0__

There are many flags in many lands,
There are flags of ev'ry hue,
But there is no flag, however grand,
Like our own Red, White and Blue.

There are many flags in many countries,
There are flags in every color,
But there is no flag, no matter how impressive,
Just like our own Red, White, and Blue.

Chorus:    Then hurrah for the flag! our country's flag,
Its stripes and white stars, too;
There is no flag in any land
Like our own Red, White and Blue!

Chorus: So let's cheer for the flag! Our country's flag,
With its stripes and white stars;
There's no flag in any country
Just like our own Red, White, and Blue!

[F] By Mary H. Howliston. From Cat Tails and Other Tales, by this author, in which book music for words given here will be found. Price, paper binding, twenty-five cents; cloth binding, forty cents.

[F] By Mary H. Howliston. From Cat Tales and Other Stories, by this author, where you'll find the music for the words provided here. Price: paper binding for twenty-five cents; cloth binding for forty cents.

(Enter Messenger from the back, marches between the two lines to the front. Boys form in semicircle behind him.)

(Enter Messaging app from the back, walks between the two lines to the front. Guys line up in a semicircle behind him.)

Messenger:

Messaging App:

What threatens the Union
In this land of ours?
There appears a new flag,
Of the Stars and Bars.
"United we stand,
Divided we fall."
Who now can save us?
On whom shall we call?

What threatens the Union
In our land?
A new flag appears,
With Stars and Stripes.
"Together we stand,
"Together we stand, divided we fall."
Who can save us now?
Who should we ask?

First Soldier:

First Soldier:

From Lincoln I have come today
Our Lincoln!
With justice he will take his place,
Our Lincoln!
With courage on his noble brow,
He will protect the Union now,
We all salute; to him we bow,
Our Lincoln!

From Lincoln I have come today
Our Lincoln!
He will assume his rightful position alongside justice,
Our Lincoln!
With courage on his noble face,
He will protect the Union now,
We all salute; we bow to him,
Our Lincoln!

(All give Flag Salute.)

(All salute the flag.)

Messenger:

Messenger

From Lincoln I have come today
To call for Volunteers!
Other messengers are on their way
To call for Volunteers.
Shall we now see our flag bowed low?
No, to meet the Southerners we'll go,
Marching while the bugles blow
The call for Volunteers!

From Lincoln I have come today
Looking for volunteers!
Other messengers are on their way
Request for Volunteers.
Shall we see our flag lowered?
No, we'll go meet the Southerners,
Marching while the bugles sound
Call for Volunteers!

All:

All

The time has come for strife and war,
Blow, bugles, blow!
The soldier boys are called once more,
« 61 » Blow, bugles, blow!

Bear your message far and wide,
Ring out through all the countryside,
We are a Nation's hope and pride,
Blow, bugles, blow!

The moment has arrived for conflict and war,
Sound the horns!
The soldier boys are called again,
« 61 » Sound the trumpets!

Spread your message far and wide,
Echo throughout the countryside,
We are the Nation's hope and pride,
Sound the trumpets!

(Exit All, as bugle call is heard.)

(Exit All, when the bugle sounds.)

SCENE II—The War

SCENE II—The War

Several boys with drums march in front of tents, which have been arranged on the stage. They sing, beating drums softly during chorus, and march around the tents.

Several boys with drums march in front of tents that have been set up on the stage. They sing, gently tapping their drums during the chorus, and march around the tents.

Tune: MARCHING THROUGH GEORGIA

Tune: MARCHING THROUGH GEORGIA

Marching toward the battlefield,
We go with sword and drum;
Marching toward the battlefield,
O, see the army come.
Rat-a-tat, a-rat-a-tat, So loudly beats the drum, While we are singing of Lincoln.

Marching to the battlefield,
We set out with our sword and drum;
Marching to the battlefield,
Oh, check out the army approaching.
Rat-a-tat, a-rat-a-tat, The drum beats so loudly, While we sing about Lincoln.

Chorus:    Hurrah! hurrah! who'll be a Volunteer? Hurrah! hurrah! O what have we to fear? Join the chorus every one, the army marches on, While we are singing of Lincoln.

Chorus: Hooray! Hooray! Who's ready to volunteer? Hooray! Hooray! What do we have to fear? Join in the chorus, everyone, the army is moving forward, While we sing about Lincoln.

Marching on to victory,
O, hear the drums beat low,
Marching on to victory,
Now see the army go.
Wave the bonnie stars and stripes, Up high where all may see, While we are singing of Lincoln.

Marching on to victory,
Oh, listen to the drums softly playing,
Marching on to victory,
Now watch the troops move.
Wave the beautiful stars and stripes, Up high for everyone to see, While we sing about Lincoln.

Chorus: Hurrah! hurrah! etc.

Chorus: Hooray! hooray! etc.

(Drummer Boys retire to tents. Enter Soldier Boys, carrying guns. They are led by a Captain, who gives the commands in the following drill:)

(Drummers head to their tents. Enter Soldier Guys, holding guns. They are led by a Captain, who issues commands for the following drill:)

Boys march by 2's, 4's or 6's and line up for drill.

Boys march in groups of 2, 4, or 6 and line up for drills.

Drill

Drill

Salute! Gun held in right hand, top resting on shoulder, raise left hand to forehead.

Salute! With the gun in your right hand, resting on your shoulder, raise your left hand to your forehead.

Present, arms! Hold gun in front with right hand, grasp with left hand.

Present, arms! Hold the gun in front with your right hand, and grip it with your left hand.

Order, arms! Large end of gun on floor, gun held by right hand, left hand at side.

Order, arms! The large end of the gun is on the floor, the gun is held in the right hand, and the left hand is at the side.

Shoulder, arms! Guns on right shoulder.

Shoulders, arms! Guns on right shoulder.

Port, arms! Grasp gun in center, with right hand, hold diagonally across chest.

Port, arms! Hold the gun in the center with your right hand, positioning it diagonally across your chest.

Extend, arms right! Hold with both hands, right arm extended, left hand resting on chest.

Extend your arms to the right! Hold it with both hands, right arm extended, left hand resting on your chest.

Extend, arms left! Same with left arm extended, etc.

Extend your left arm! Do the same with your right arm extended, and so on.

Aim! Rest gun on shoulder, raised with both hands.

Aim! Rest the gun on your shoulder, holding it up with both hands.

About, face! Face around.

About, face! Turn around.

Forward, march! March about tents, while tune of TRAMP, TRAMP, TRAMP, THE BOYS ARE MARCHING, is softly played. Retire in or back of tents.

Forward, march! Move around the tents while the tune of TRAMP, TRAMP, TRAMP, THE BOYS ARE MARCHING plays softly in the background. Retreat to or behind the tents.

(A sentinel, Scott, comes out to keep guard, walks up and down many times, and finally leans up against one of the tents and falls asleep. He is discovered by the Captain, who comes on stage.)

(A guard, Scott, steps out to watch over the area, paces back and forth multiple times, and eventually leans against one of the tents and falls asleep. He is found by the Captain, who enters the scene.)

Captain (comes forward):

Captain (steps forward):

What ho! the guard is asleep!
What, then, if the enemy come,
Creeping stealthily over the hill
With never the sound of drum?
By surprise our camp they'd take.
Sleeping guard, awake! awake!

Wow! The guard is asleep!
What if the enemy attacks?
Sneaking quietly over the hill
Not even the sound of a drum?
They'd catch our camp by surprise.
Sleeping guard, wake up! Wake up!

(Scott awakes and salutes Captain.)

(Scott wakes up and salutes Captain.)

Captain:

Captain:

For this offense you shall be tried,
'Twas indeed a sad mistake.
Who shall guard the camp tonight,
If no guard here is awake?

For this crime, you will stand trial,
It was definitely a regrettable mistake.
Who will watch over the camp tonight,
What if there’s no one awake to keep watch?

Soldiers (come forward):

Soldiers (step forward):

'Tis wearisome the watch to keep,
Alas! alas! he fell asleep!
Alas! alas! he fell asleep!

It's tiring to stay awake,
Oh no! oh no! he fell asleep!
Oh no! oh no! he fell asleep!

(Scott is led off by Soldiers to be tried by court-martial.)

(Scott is taken away by troops to face a court-martial.)

Old Soldier (enters):

Veteran (enters):

Scott is a bonnie soldier boy:
He's honest, brave and true;
He is worthy still to bear
The Red and White and Blue.
Alas! alas! he will come home,
Sentenced soon to die,
Beloved by all his comrades, now
With bowed heads they march by.

Scott is a handsome soldier:
He's honest, brave, and genuine;
He still deserves to wear
The Red, White, and Blue.
Oh no! oh no! he will return home,
Facing a death sentence soon,
Loved by all his comrades, now
They walk by with their heads down.

(Re-enter All, singing one verse of JUST BEFORE THE BATTLE, MOTHER.)

(Re-enter All, singing one verse of Right before the battle, mom.)

Captain (to Scott):

Captain (to Scott):

There is but one who can save you now;
From a cabin home he came,
He is our honored President,
And Lincoln is his name!
Then to our honored President,
For pardon we will go,
We will march if there be hope
No more with heads bowed low.

There is only one person who can save you now;
He grew up in a modest home,
He is our respected President,
And his name is Lincoln!
So to our respected President,
We will go and ask for forgiveness,
We will march if there’s hope
No more hanging our heads.

(Exit All.)

(Log Out All.)

(Boys, in make-up of negroes enter. They sing the following song, and imitate banjo playing while singing the chorus.)

(Boys, in makeup as Black characters enter. They sing the following song and pretend to play the banjo while singing the chorus.)

THE SUNNY SOUTHLAND[G]

THE SUNNY SOUTHLAND[G]

'Way down in the sunny Southland,
Lives the little black boy, you know,
His mother sings a lullaby,
To the tune of the old banjo.

Chorus:    Plunkety-plunk, plunkety-plunk,
Down in the cotton-field we go.
Plunkety-plunk, plunkety-plunk,
Plunkety-plunk, plunk-plunk, banjo.

'Way down in the sunny Southland,
Where the sky is so bright and blue,
The black boy on the banjo strings
Likes to play the same tune to you.

« 65 »Chorus: Plunkety-plunk, etc.

'Way down in the sunny Southland
You will hear this sweet lullaby,
The wee black boy must go to sleep,
For the Sandman is passing by.

Chorus: Plunkety-plunk, etc.

Soldiers (return, shouting):

Hurrah! Scott is pardoned.

Way down in the sunny South,
There's a little black boy, you know,
His mom sings a lullaby,
To the melody of the old banjo.

Chorus: Plunkety-plunk, plunkety-plunk,
We're heading down to the cotton field.
Plunkety-plunk, plunkety-plunk,
Plunk, plunk, banjo.

Way down in the sunny South,
Where the sky is clear and blue,
The black boy on the banjo strings
Enjoys playing the same song for you.

« 65 »Chorus: Plunkety-plunk, etc.

Way down in the sunny South
You will hear this lovely lullaby,
The little black boy must go to sleep,
The Sandman is on his way.

Chorus: Plunkety-plunk, etc.

Troops (return, shouting):

Hurrah! Scott is pardoned.

(They repeat the last four lines of their first song and march off.)

(They repeat the last four lines of their first song and walk away.)

[G] Music for this will be found under Songs in another part of this book.

[G] You can find the music for this under Tracks in another section of this book.

SCENE III—After the War

SCENE III—Post-War

Lincoln's picture is placed on a ladder or easel, the children that recite placing flags and garlands of flowers about it.

Lincoln's picture is set up on a ladder or easel, with the children reciting while they place flags and flower garlands around it.

RECITATION BY THREE BOYS WITH THREE FLAGS

RECITATION BY THREE BOYS WITH THREE FLAGS

First Boy:

First Boy

The flag that speaks of men made free,
The flag of sword and drum,
'Tis the bonniest banner in all the world,
The flag of battles won.

The flag that represents free men,
The flag of sword and drum,
It's the most beautiful banner in the entire world,
The flag of victories.

Second Boy:

Second Boy:

The flag that speaks of Gettysburg,
Upheld by faithful men
Amid the battle's storm and strife,
Shall wave for us again.

The flag that represents Gettysburg,
Backed by loyal guys
In the chaos of battle,
Will fly for us again.

Third Boy:

Third Guy

The flag that waves o'er Lincoln now,
Means freedom for the slave;
So waves the bonnie stars and stripes
O'er many a patriot's grave.

The flag that flies over Lincoln now,
Symbolizes freedom for the enslaved;
So the beautiful stars and stripes wave
Over many a soldier's grave.

All:

All

No North, no South, no East, no West,
A union of all states is best;
One flag for all is a nation's pride,
The Blue and the Gray lay side by side.

No North, no South, no East, no West,
A union of all states is best;
One flag for all is a nation's pride,
The Blue and the Gray lie side by side.

A Girl (comes on stage and recites):

A Girl (walks on stage and speaks):

OUR HERO

Our Hero

Today the flags are flying,
For a hero that we love;
We all sing of Lincoln,
While waves the flag above.
Bring out the bonnie banners,
Flags of shining stripes and stars,
Lincoln was our country's hero,
And the victory is ours.

Today the flags are waving,
For a hero we admire;
We all sing about Lincoln,
While the flag waves proudly above.
Bring out the beautiful banners,
Flags featuring vibrant stripes and stars,
Lincoln was our nation's hero,
And the win is ours.

Another Girl (enters and recites):

Another Girl (comes in and recites):

OUR LINCOLN

OUR LINCOLN

Crown him with wreaths of evergreen,
Our Lincoln.
Bring fairest flowers ever seen,
For Lincoln.
Crown him today with fragrant flowers,
The war is o'er, the victory is ours,
Above all men this great man towers,
Our Lincoln.

Crown him with gentle words of love,
Our Lincoln;
And place the banners high above
For Lincoln.
Raise high the flag of liberty,
For one who set the slaves all free,
Ring out his praises from sea to sea,
Our Lincoln.

Crown him with wreaths of evergreen,
Our Lincoln car.
Bring the prettiest flowers ever seen,
For Lincoln.
Crown him today with fragrant blooms,
The war is over, the victory is ours,
Above all men this great man stands tall,
Our Lincoln.

Crown him with kind words of love,
Our Lincoln car;
And hang the banners high above
For Lincoln.
Raise high the flag of freedom,
For the one who freed the slaves,
Shout his praises from sea to sea,
Our Lincoln car.

(Children carrying flags and flowers and having shields on their breasts, each bearing one letter to spell the word "Lincoln," enter. The cards bearing the letters are hung from the neck, and when children enter are blank side toward audience. Each child turns his letter to view of the audience after reciting his lines and disposing of his flowers and flag. They stand in order, and when through reciting, place the flowers and flags around the portrait of Lincoln.)

(Kids holding flags and flowers, wearing shields on their chests, each displaying one letter to spell "Lincoln," enter. The cards with the letters are hung around their necks, blank side facing the audience as they come in. After reciting their lines and setting down their flowers and flags, each child turns their letter to face the audience. They stand in line, and when they finish reciting, they place the flowers and flags around Lincoln's portrait.)

L:
Lincoln's name we all repeat,
And bring for him our flowers sweet.

I:
In peace or war a nation's pride,
We place our banners by his side.

N:
No North, no South today is seen,
We bring our wreaths of evergreen.

C:
Crown him with honest words of love,
And place the stars and stripes above.

O:
One nation and one flag is best,
Place flowers where our hero rests.

L:
Lincoln, we all love to bring
Tributes, while of thee we sing.

N:
No more he hears the bugle's call,
We scatter flowers over all.

L:
We all mention Lincoln's name,
And bring him our lovely flowers.

I:
In peace or war, he's a source of national pride,
We put our banners next to him.

N:
Today, there’s no North or South,
We bring our holiday wreaths.

C:
Crown him with genuine words of love,
And raise the stars and stripes above.

O:
We need one nation and one flag.
Place flowers at the spot where our hero lies.

L:
Lincoln, we love to share
We pay tribute as we sing about you.

N:
He no longer hears the sound of the bugle.
We scatter flowers everywhere.

All (return, grouping themselves nicely and sing):

All (return, gather, and sing):

LINCOLN DEAR[H]

LINCOLN DEAR[H]

Wave the bonnie banners high,
« 68 »O Lincoln dear!
A host of children passing by,
O Lincoln dear,
Will sing to you their sweetest song,
As they now proudly march along,
For laurels unto you belong,
O Lincoln dear.

Wave the beautiful banners high,
« 68 »Oh Lincoln, dear!
A crowd of children passing by,
O Lincoln, my dear,
Will sing to you their sweetest song,
As they proudly march along,
For the honors belong to you,
Oh Lincoln, dear.

Chorus:    Wave the banners high,
The Red, the White, the Blue;
Wave the banners high,
To Lincoln dear we're true.
O wave the bonnie banners,
How proudly they all sway,
We wave the Red, the White, the Blue,
For Lincoln dear today.

Bonnie flags shall crown you now,
O Lincoln dear,
We place them by your noble brow,
O Lincoln dear,
And fairer far than monument,
The love from our young hearts is sent,
You were our honored President,
O Lincoln dear.

Chorus:    Wave the banners, etc.

Chorus: Wave the flags high,
The Red, the White, the Blue;
Wave the flags high,
We're loyal to Lincoln, too.
Oh, wave the beautiful banners,
Look how proudly they move,
We wave the Red, the White, the Blue,
For Lincoln, my dear, today.

Lovely flags will crown you now,
Oh Lincoln, my dear,
We place them near your noble brow,
Oh Lincoln, my dear,
And more beautiful than any monument,
The love from our young hearts is sent,
You were our honored President,
Oh Lincoln, my dear.

Chorus: Wave the flags, etc.

[H] Music for this will be found under Songs in another part of this book.

[H] You'll find the music for this under Tracks in another section of this book.

A FLAG EXERCISE

A Flag Exercise

L. F. Armitage

L.F. Armitage

FOR EIGHT LITTLE GIRLS AND BOYS, EACH CARRYING A FLAG

FOR EIGHT LITTLE GIRLS AND BOYS, EACH HOLDING A FLAG

First Child:

First Kid:

What flag is this?

What flag is this?

Second:

Second:

This is our country's flag,
« 69 » This flag so fine.
It is my father's flag
And it is mine.

This is our country's flag,
« 69 » This flag is stunning.
It belongs to my dad
And now it’s mine as well.

Third:

Third

What are its colors?

What are its colors?

Fourth:

Fourth

White stars in a field of blue,
Stripes white and red.
See our "Red, White and Blue"
Waving o'erhead (waving flags).

White stars in a blue field,
Red and white stripes.
Look at our "Red, White and Blue"
Flying overhead (waving flags).

Fifth:

Fifth

What do these colors mean?

What do these colors signify?

Sixth:

Sixth:

White means, Be always pure!
Red means, Be brave!
Blue means, Be ever true!
Long may it wave.

White means, Always be pure!
Red means, Be brave!
Blue means, Always be true!
Long may it wave.

Seventh:

Seventh:

Why are the flags up today?

Why are the flags flying today?

Eighth:

Eighth:

All these United States,
Many in one,
Honor this glorious name—
Abraham Lincoln.

All these United States,
Many in one,
Honor this glorious name—
Abraham Lincoln.

All (sing):

All (sing):

Tune: AULD LANG SYNE

Tune: AULD LANG SYNE

We wave[I] the flag, the bonny flag
Of red and white and blue.
This flag that floats o'er land and sea,
To it we will be true.
Then[I] hail the flag, this bonny flag,
We'll give it three times three;
God bless the land that owns this flag,
The land of liberty.

We wave the flag, the beautiful flag
Of red, white, and blue.
This flag that flies over land and sea,
We will be loyal to it.
Then hail the flag, this beautiful flag,
We'll cheer it nine times;
God bless the land that has this flag,
The land of liberty.

Primary Education

Elementary Education

[I] Waving flags.

Waving flags.

Clara J. Denton

Clara J. Denton

A DIALOGUE FOR THREE GIRLS AND TWO BOYS

A CONVERSATION FOR THREE GIRLS AND TWO BOYS

CHARACTERS

CHARACTERS

Mrs. Lincoln, mother of the family
Mr. Lincoln, father of same
Sarah, step-daughter of Mrs. Lincoln and sister to "Abe"

Mrs. Lincoln, the mother of the family
Mr. Lincoln, the father of the family
Sarah, Mrs. Lincoln's step-daughter and Abe's sister

John Johnson }     Mrs. Lincoln's children
Matilda Johnson

COSTUMES

COSTUMES

Mrs. Lincoln: Dark calico gown very plainly made, wide gingham apron, hair parted in the middle, combed straight back from the face, and arranged in knot at back. Let this character be taller than the other girls, if possible.

Mrs. Lincoln: Dark calico dress, very simply made, wide gingham apron, hair parted in the middle, combed straight back from the face, and styled in a bun at the back. Make this character taller than the other girls, if possible.

Mr. Lincoln: Blue overalls and blouse. This character should be taller than the other boys.

Lincoln: Blue overalls and a shirt. This character should be taller than the other boys.

Sarah: Short, plainly-made calico gown; hair arranged in two long braids, fastened together by dark thread.

Sarah: A short, simple calico dress; hair styled in two long braids, tied together with dark thread.

John Johnston: Blue overalls and blouse, battered fur cap.

John Johnston: Blue overalls and a shirt, worn-out fur cap.

Matilda Johnston: Gown like Sarah's although different in color, hair also done up like Sarah's.

Matilda Johnson: Her gown is similar to Sarah's but a different color, and her hair is styled like Sarah's too.

SCENE

SCENE

Very plain interior. Pine table at center. Split-bottom rocker near it. Two old-fashioned wooden chairs placed a few feet apart at right-front, the same at left-front. At left-rear is a pine cupboard, on the open shelves of which are some cheap earthen dishes. This cupboard must be placed so that the characters can pass behind it to reach the suggested fireplace. Several skins of animals may be tacked about the walls; a pair of deer-antlers should also be in evidence. An old-fashioned gun with powder-horn might be hung in a conspicuous position. A wool spinning-wheel would add to the old-time effect.

Very simple interior. A pine table sits in the center. There's a split-bottom rocker nearby. Two old wooden chairs are a few feet apart at the front right and the same at the front left. In the back left is a pine cupboard with some inexpensive earthenware dishes on the open shelves. This cupboard needs to be positioned so that the characters can walk behind it to reach the suggested fireplace. Several animal skins can be hung on the walls; a pair of deer antlers should also be visible. An old gun with a powder horn might be displayed in a prominent spot. A wool spinning wheel would add to the vintage atmosphere.

Mrs. Lincoln and Sarah are discovered; the former, seated in the rocker, is mending a pair of ragged overalls, which, as she talks, she from time to time holds up and spreads out as if looking for holes. Sarah, at rear of stage, is sweeping vigorously.

Mrs. Lincoln and Sarah are found; the former, sitting in the rocking chair, is fixing a pair of torn overalls, which she occasionally holds up and spreads out as if checking for holes while she talks. Sarah, at the back of the stage, is sweeping energetically.

Mrs. Lincoln: Dear me, Sarah! what a dust you do kick up (coughs); you'll choke me to death.

Mrs. Lincoln: Oh my, Sarah! You really kick up a storm of dust (coughs); you're going to suffocate me!

Sarah (sweeping more gently): Excuse me, but you see, the dirt is all here, and I suppose the only way to get it out is to kick it up; but I'll try to be more careful.

Sarah (sweeping more gently): Excuse me, but you see, the dirt is all here, and I think the only way to get it out is to kick it up; but I'll try to be more careful.

Voice (behind scenes): Abe, Abe, O, Abe.

Voice (behind scenes): Abe, Abe, oh, Abe.

Mrs. Lincoln: How strange it is that I just can't teach John not to stand and call out that way. I've tried ever since he was a baby to make him go to anyone that he wants.

Mrs. Lincoln: It's so odd that I can't get John to stop standing and shouting like that. I've been trying ever since he was a baby to teach him to go to anyone he wants.

Sarah: I suppose he thinks it doesn't matter as long as he's just calling Abe.

Sarah: I guess he thinks it doesn’t matter as long as he’s just calling Abe.

Mrs. Lincoln: But it does matter, because it's a bad habit, and a bad habit is mighty easy to get and mighty hard to lose. I don't have a bit of trouble teaching all those things to Abe. Dear me, he's such a good, obedient boy; I don't believe he'll live to grow up (sighs).

Mrs. Lincoln: But it does matter because it's a bad habit, and a bad habit is really easy to pick up and really hard to break. I don’t have any trouble teaching all those things to Abe. Goodness, he's such a well-behaved, obedient boy; I honestly don't think he’ll make it to adulthood (sighs).

Sarah: O, yes he will, mother; he's too full of mischief to die; besides, he's the strongest boy for his age that there is anywhere around here. He picked Matilda and me both up yesterday and carried us clear to the woods. We kicked and screamed (laughs) and squirmed, « 72 » but oh my! we're just like a pair of dolls to him. He set us down at the edge of the woods, then started on a run. We started too, but he was in the barn and clear at the top of the corn-stalks stacked in the mow before we were half way to the house (laughs). Don't worry about his dying, mother.

Sarah: Oh, yes he will, mom; he’s way too full of mischief to die; plus, he’s the strongest kid his age around here. He picked Matilda and me up yesterday and carried us all the way to the woods. We kicked and screamed (laughs) and squirmed, « 72 » but wow! we’re like a couple of dolls to him. He set us down at the edge of the woods, then took off running. We started running too, but he was in the barn and all the way at the top of the stacked corn-stalks in the mow before we even made it halfway back to the house (laughs). Don’t worry about him dying, mom.

Voice (again): Abe, Abe, O, Abe.

Voice (again): Abe, Abe, Oh, Abe.

Mrs. Lincoln: What shall I do with that boy?

Mrs. Lincoln: What am I supposed to do with that boy?

Sarah: Don't do anything. Just let him keep right on howling until he gets tired of it.

Sarah: Don't do anything. Just let him keep howling until he gets tired of it.

Mrs. Lincoln: But I'm tired of hearing him.

Mrs. Lincoln: But I'm tired of listening to him.

Sarah: Shall I go and make him keep still? (Laughs and gesticulates.)

Sarah: Should I go make him quiet? (Laughs and gestures.)

John (enters at right): Where's Abe, mother? I've been calling and calling him. (Sits in chair at right-front.)

John (enters from the right): Where's Abe, Mom? I've been calling for him nonstop. (Sits in the chair at the front right.)

Sarah: Yes, we thought we heard something.

Sarah: Yeah, we thought we heard something.

Mrs. Lincoln: Take off your hat, my son. I do wish you didn't need telling that so often.

Mrs. Lincoln: Take off your hat, my son. I really wish you didn't need to be reminded of that so often.

John (removes hat): But I want Abe.

John (takes off hat): But I want Abe.

Mrs. Lincoln: What for?

Mrs. Lincoln: Why?

John: To help me carry in the wood. There's a big storm coming.

John: To help me bring in the firewood. There's a big storm coming.

Mrs. Lincoln: Well, he isn't here.

Mrs. Lincoln: Well, he’s not here.

John: Isn't here? What do you mean? I didn't see him go away.

John: He's not here? What do you mean? I didn't see him leave.

Mrs. Lincoln: No, he went away while you were gone to the woods with your father's lunch. This is his birthday, so I let him walk to Gentryville to get me some thread. You folks wear out your clothes so fast that it takes a lot of thread to keep you from being bundles of rags.

Mrs. Lincoln: No, he left while you were off in the woods with your dad's lunch. Today is his birthday, so I let him walk to Gentryville to get me some thread. You all wear out your clothes so quickly that it takes a lot of thread to keep you from turning into a bunch of rags.

John (sulkily): And must I get that wood in all alone?

John (sulkily): Do I have to get that wood by myself?

Mrs. Lincoln: That won't hurt you. Don't you remember the other day when you had the tooth-ache, Abe got in all the wood and wouldn't let you do a thing?

Ms. Lincoln: That won't hurt you. Don't you remember the other day when you had a toothache? Abe brought in all the firewood and didn't let you lift a finger?

Matilda (enters at left from behind cupboard): Hurry up, John, and bring in some wood, the fire is getting low. Don't you feel chilly, mother?

Matilda (enters at left from behind cupboard): Hurry up, John, and bring in some wood; the fire is getting low. Aren't you feeling cold, Mom?

Mrs. Lincoln: Yes, it is getting cold here. Run along, John, that's a good boy. Abe will get it all in tomorrow night, I'm sure.

Mrs. Lincoln: Yes, it’s getting chilly here. Go on, John, be a good boy. I’m sure Abe will handle everything by tomorrow night.

Sarah: Yes, or else when he's rich and famous maybe he'll let you live with him. Mother is so sure he's bound to be a great man.

Sarah: Yeah, or when he’s rich and famous maybe he’ll let you move in with him. Mom is so convinced he’s going to be a big deal.

John (rising): O, well, Abe's all right, I don't mind.

John (standing up): Oh, well, Abe's fine, I don't care.

Mrs. Lincoln: Yes, you children like to laugh at the things I say about Abe, but I know any boy—or girl either, for that matter—who's so anxious to learn, can't help amounting to something some day. You just wait and see.

Mrs. Lincoln: Yes, you kids like to laugh at the things I say about Abe, but I know any boy—or girl for that matter—who's so eager to learn is bound to achieve something one day. Just wait and see.

Mr. Lincoln (enters at right): What's that, mother? What shall we see if we wait? Guess we'll have to wait a good while if we see anything very great around these diggings.

Mr. Lincoln (enters at right): What’s that, Mom? What do you think we’ll see if we wait? Looks like we might have to hang around for a long time if we’re expecting to see anything exciting out here.

Sarah: O, ma's just bragging about Abe again.

Sarah: Oh, Mom's just bragging about Abe again.

Mr. Lincoln (goes to Mrs. Lincoln and lays hand on her shoulder): You're good to the chap, Sallie, that's a fact. I'm glad I brought you here to be a mother to him. But sometimes I wonder if it's just the thing for you to encourage him to do so much reading, for I know you do encourage him.

Mr. Lincoln (walks over to Mrs. Lincoln and puts a hand on her shoulder): You’re really great with the kid, Sallie; that’s true. I’m glad I brought you here to be a mother to him. But sometimes I worry if it’s the best idea for you to encourage him to read so much, because I know you do encourage him.

Matilda: I should say she does! Why, the rest of us young ones have to go around on our tip-toes and talk in whispers when Abe gets his nose in a book.

Matilda: I definitely think she does! The rest of us kids have to walk on our tiptoes and speak quietly whenever Abe gets absorbed in a book.

Mr. Lincoln: Isn't that a little hard on the others, Sallie?

Mr. Lincoln: Isn’t that a bit unfair to the others, Sallie?

Matilda (quickly): Oh, my! we don't mind. We « 74 » like to have Abe read, and we think he's mighty good to tell the rest of us all about what he reads.

Matilda (quickly): Oh wow! we don’t mind. We « 74 » love having Abe read, and we think he’s really great at telling the rest of us all about what he reads.

Sarah: That he does. You just ought to hear him, pa, tell the story of Pilgrim's Progress.

Sarah: He really does. You should just hear him, Dad, tell the story of Pilgrim's Progress.

Matilda: O, pa wouldn't like that as well as he would Æsop's Fables; just get him to tell you some of those stories some time.

Matilda: Oh, Dad wouldn’t like that as much as he would Æsop's Fables; just ask him to share some of those stories sometime.

John: And all about Robinson Crusoe, too, pa, and the queer times he had. You'd like that, I know.

John: And all about Robinson Crusoe, too, Dad, and the strange times he had. You'd like that, I know.

Mr. Lincoln: Well, it may be all right, but I don't like to see a big, strapping boy like Abe spending his time over books, to say nothing of the hours he wastes running around borrowing them. Why, I'll bet he has read every book in this county.

Mr. Lincoln: Well, it might be fine, but I really don't like to see a big, strong kid like Abe spending all his time on books, not to mention the hours he wastes running around borrowing them. I bet he's read every book in this county.

Mrs. Lincoln: So he has! He was wishing just the other day that he knew of some more books that he could borrow: he said he had "read every book that he had heard of within a circuit of fifty miles."

Mrs. Lincoln: He really has! Just the other day, he was saying he wished he knew of more books to borrow. He mentioned that he had "read every book he had heard of within fifty miles."

Matilda: And, pa, if you could only hear him when he climbs on the table and makes speeches. I just tell you, Abe is heaps of fun.

Matilda: And, Dad, if you could just hear him when he stands on the table and gives speeches. I swear, Abe is a ton of fun.

Mr. Lincoln: I dare say he is, but that doesn't get the work done. It's all right for sickly fellows to be spending their time getting learning, but a big, strong fellow like Abe will always be able to earn his living by hard work.

Mr. Lincoln: I’m sure he is, but that doesn’t get the job done. It’s fine for weak guys to spend their time learning, but a big, strong guy like Abe will always be able to make a living through hard work.

Mrs. Lincoln: Of course he'll be able to, but you'll find out he'll not do it. I tell you there are other plans laid away in that big head of his.

Mrs. Lincoln: Of course he'll be able to, but you'll find out he won't do it. I'm telling you, there are other plans stored in that big head of his.

Mr. Lincoln: Well, well, he'll have you to thank if he ever does amount to anything, that's sure. (Shivers.) But it's cold in here, what on earth is the matter with your fire?

Mr. Lincoln: Well, well, he’ll owe you thanks if he ever achieves anything, that’s for sure. (Shivers.) But it’s cold in here; what’s going on with your fire?

John (aside): Time for me to run. (Exit at right, hurriedly.)

John (aside): I gotta go. (Exit quickly to the right.)

Mr. Lincoln (turning toward cupboard): It's funny you young ones can't look after the fire when ma's busy.

Mr. Lincoln (turning toward cupboard): It's funny you kids can't take care of the fire when mom's busy.

John, you go bring in some wood! (Looks around.) O, he's gone after it, I guess—about time. (Disappears behind cupboard.)

John, go bring in some wood! (Looks around.) Oh, he’s gone to get it, I suppose—about time. (Disappears behind cupboard.)

Mrs. Lincoln (to girls): Don't tell pa that John was waiting for Abe to help him. If you do they'll both get a scolding, maybe.

Mrs. Lincoln (to girls): Don't tell Dad that John was waiting for Abe to help him. If you do, they might both get in trouble.

Matilda: And you, too, for letting Abe go away. (All laugh.)

Matilda: And you, too, for letting Abe leave. (All laugh.)

(John enters at right, carrying wood, which he drops noisily behind cupboard.)

(John walks in from the right, carrying some wood, which he drops loudly behind the cupboard.)

Mrs. Lincoln (starting up): John, why do you drop the wood in that noisy way? (John re-appears and comes down.) After all my talking to you, it does seem as if you might learn to be more quiet about it.

Mrs. Lincoln (starting up): John, why are you dropping the wood so loudly? (John re-appears and comes down.) After everything I’ve said to you, it really seems like you could learn to be a bit quieter about it.

Matilda: Yes, when Abe——

Matilda: Yes, when Abe—

Sarah (catching her by the arm): Hush, Matilda! if you keep on (they come down to right front) you'll make John hate Abe. Don't hold him up to John all the time as a pattern.

Sarah (grabbing her by the arm): Quiet, Matilda! If you keep this up (they come down to the front right), you'll make John dislike Abe. Don't keep comparing him to John all the time.

Matilda (sighs): But, you know, Sarah, Abe is so different. He never does any of those disagreeable things that John is always doing. I remember, when we first came here, ma told Abe to take off his hat when he came into the house, and she never has had to tell him the second time; but she is still trying to hammer it into John.

Matilda (sighs): But, you know, Sarah, Abe is so different. He never does any of those annoying things that John is always doing. I remember when we first got here, Mom told Abe to take off his hat when he came into the house, and she never had to remind him again; but she’s still trying to get John to understand it.

Sarah: Yes, dear, I know, and Abe is so kind to everyone and so thoughtful of other people's comfort. I am so glad he is my brother, and I only wish I were half as good and kind as he.

Sarah: Yes, dear, I know, and Abe is really nice to everyone and genuinely cares about other people's comfort. I'm so happy he's my brother, and I just wish I were even half as good and kind as he is.

Matilda: Yes, and so jolly, too.

Matilda: Yes, and it's so cheerful, too.

Sarah: Only sometimes he looks so sad—that must be when he's hungry for more books.

Sarah: Sometimes he looks really sad—that must be when he wants more books.

John (coming towards them): What are you two girls talking about over here?

John (walking over): What are you two girls chatting about?

(Mr. Lincoln appears from behind cupboard, carrying a large wooden shovel, the blade of which is covered with black figures. He comes down, confronting Mrs. Lincoln.)

(Lincoln comes out from behind the cupboard, holding a big wooden shovel, the blade of which is covered with black markings. He steps down, facing Mrs. Lincoln.)

Mr. Lincoln: Mother, what in the world is this?

Lincoln: Mom, what is going on here?

Mrs. Lincoln (laughing): O, those are Abe's sums.

Mrs. Lincoln (laughing): Oh, those are Abe's math problems.

Mr. Lincoln: Sums! I vum! Sums! What did he make them with?

Mr. Lincoln: Sums! I swear! Sums! How did he come up with them?

Mrs. Lincoln: A piece of burnt wood.

Mrs. Lincoln: A charred piece of wood.

Mr. Lincoln: I vum! Sums! Where did he learn to do sums?

Mr. Lincoln: I swear! Sums! Where did he learn to do sums?

Mrs. Lincoln: O, he picked it up.

Mrs. Lincoln: Oh, he picked it up.

Mr. Lincoln: I bet you taught him! didn't you, Sallie? Come now, own up.

Mr. Lincoln: I bet you taught him, didn’t you, Sallie? Come on, admit it.

Mrs. Lincoln: Well, I helped him a little, but he's far ahead of me now; he's ciphered clear through that old ragged arithmetic that's been kicking around the house.

Mrs. Lincoln: Well, I helped him a bit, but he’s way ahead of me now; he’s worked his way through that old, tattered math stuff that’s been lying around the house.

Mr. Lincoln (turning shovel over): But both sides are covered. What's he going to do now?

Mr. Lincoln (turning the shovel over): But both sides are covered. What’s he going to do now?

Mrs. Lincoln: O, he'll take the shaving knife and whittle it all off, then he'll have a "new slate," as he says.

Mrs. Lincoln: Oh, he'll grab the shaving knife and carve it all away, then he'll have a "fresh start," as he puts it.

Mr. Lincoln (holding up shovel): A new slate! Sums! Well, I vum!

Lincoln (holding up shovel): A new start! Numbers! Wow, I can't believe it!

(Whistle heard behind scenes.)

Whistle heard backstage.

Mrs. Lincoln (rising): There he comes now. Put the shovel away, and don't scold him, pa.

Mrs. Lincoln (standing up): Here he comes now. Put the shovel away, and don’t yell at him, Dad.

Mr. Lincoln: Sums! I vum! (Exit quickly behind cupboard.)

Mr. Lincoln: Sums! I swear! (Exits quickly behind the cupboard.)

Curtain

Curtains


Clara J. Denton

Clara J. Denton

A DIALOGUE FOR ONE GIRL AND TWO BOYS

A DIALOGUE FOR ONE GIRL AND TWO BOYS

CHARACTERS

CHARACTERS

John       Thomas       Helen

John       Thomas       Helen

COSTUMES

COSTUMES

The characters wear suits made as nearly as possible in the style of seventy years ago. For hints as to proper styles consult pictures in old books—a brief description is, however, given.

The characters are dressed in suits that look similar to styles from seventy years ago. For reference on the right styles, you can look at pictures in old books—though a short description is also included.

The boys' trousers are long and loose; the jackets are short and tight-fitting, with small sleeves. The jackets are made open in front, and short, close-fitting vests, buttoning to the neck, are worn under them. White turn-over collars surmount the whole. These suits may be made of the cheapest material. Or, if preferred, the boys may be arrayed in blue overalls and "jumpers"; this will save much labor and inconvenience.

The boys' pants are long and loose; the jackets are short and fitted, with small sleeves. The jackets are open in the front, and they wear short, tailored vests that button up to the neck underneath. White turn-over collars finish off the look. These outfits can be made from inexpensive materials. Alternatively, the boys can wear blue overalls and "jumpers"; this will make things much easier.

The girl wears a short, full-skirted gown of pink calico, the waist made plain, fitting closely and buttoning up the back. The hair should hang in two long braids, the ends tied together with a green ribbon.

The girl is dressed in a short, full-skirted pink calico dress, with a simple waist that fits snugly and buttons up the back. Her hair should be styled in two long braids, with the ends tied together using a green ribbon.

SCENE

Scene

The stage is set to represent a schoolroom, with blackboards and maps on the walls, and cheap plain benches and desks in an orderly arrangement. A small pine table, on which are some books and a hand-bell, is in the center. Behind this table is an old-fashioned wooden chair for the teacher. Shabby and battered books are piled neatly on the various desks.

The stage is set to resemble a classroom, featuring blackboards and maps on the walls, along with simple, plain benches and desks organized neatly. In the middle is a small pine table that holds some books and a hand bell. Behind the table is an old wooden chair for the teacher. Worn and tattered books are stacked neatly on the various desks.

John (enters at right, comes to one of the desks, seats himself, and opens a book): Here is this miserable sum again. I suppose I've just got to get it done before the teacher comes; but I can't make head or tail of the thing. Let me see (reads): "If the half of four be three, what will three-fourths of twenty be?" (Closes book with a bang.) Was there ever any stuff like that? Everybody knows that half of four can't be three, so what's the use of wearing out a fellow's brains, 'specially « 78 » when he's like me and hasn't any to spare, over a silly thing like that? O, gee, I believe I'll run away. I hate this school, school, all the time. If father would only let me stay at home and plough.

John (enters from the right, goes to one of the desks, sits down, and opens a book): Here’s this awful assignment again. I guess I just have to finish it before the teacher shows up, but I can't make sense of it. Let me see (reads): "If half of four is three, what is three-fourths of twenty?" (slams the book shut.) Who even comes up with stuff like this? Everyone knows half of four isn't three, so what's the point of wearing out someone's brain, especially « 78 » when someone like me doesn’t have any to spare, over something so ridiculous? Ugh, I think I’m just going to run away. I can't stand this school, school, all the time. If only my dad would let me stay home and plow.

Thomas (enters at right): What's that, Jack? Didn't I hear you say something about ploughing?

Thomas (enters from the right): What's that, Jack? Didn't I just hear you mention something about plowing?

John (rises and leaves desk, both boys come down): Yes, I was just wishing I could stay at home and plough instead of coming to school and worrying my head over fractions. I hate them.

John (rises and leaves desk, both boys come down): Yeah, I was just thinking how much I’d prefer to stay home and farm instead of coming to school and stressing over fractions. I can’t stand them.

Thomas (goes to another desk and takes up book): I don't mind fractions, but here's this awful geography lesson. Teacher said if I didn't have it this morning I'd have to stay in all the noon hour and learn it. What good will it ever do me, I'd like to know, to get the names of all these islands in my head? I don't mean to be a sailor, and if I should be I guess I'd learn the names of places fast enough when I came to them.

Thomas (goes to another desk and grabs a book): I don't mind fractions, but this geography lesson is terrible. The teacher said if I didn't finish it this morning, I’d have to stay in during lunch and go over it. What’s the point of memorizing all these island names? I’m not planning to be a sailor, and if I ever do, I figure I’ll learn the names of places quickly enough when I get there.

John (puts his hand on Thomas' shoulder): Say, Tom, let's run away where they can't make us go to school. We know enough now.

John (puts his hand on Thomas' shoulder): Hey, Tom, let's escape to a place where we won't have to go to school. We know enough now.

Thomas: So we do; we can write our names, and say the multiplication table. What more need a fellow know?

Thomas: We do that; we can write our names and recite the multiplication table. What else does someone really need to know?

John: We can work for the farmers until we get a little money and then——

John: We can work for the farmers until we earn some money and then——

Helen (enters at right and comes down): O boys, aren't you ashamed? I overheard your bad plans; how can you talk that way about going to school instead of being glad that you have the chance to go?

Helen (enters at right and comes down): Hey guys, aren’t you ashamed? I heard your awful plans; how can you talk like that about going to school instead of being grateful for the chance to go?

John: Glad of the chance? Ho, ho, that's funny.

John: Happy to have the opportunity? Ha, that's hilarious.

Thomas: I should say so, as if anybody was ever glad to go to school. (Both boys laugh heartily. Helen stands silently gazing at them.)

Thomas: I would definitely say that, like anyone's ever actually happy to go to school. (Both boys laugh heartily. Helen stands silently watching them.)

John: Why, that beats everything! "Glad to go to « 79 » school!" I don't believe there ever was such a thing as a fellow being glad to go to school.

John: Wow, that's unbelievable! "Happy to go to « 79 » school!" I can't believe anyone would actually be happy to go to school.

Helen: I'm sure I'm glad.

Helen: I'm really glad.

Thomas (snapping his fingers scornfully and turning away): Yes, but you're a girl. I suppose it's all right for a girl to be glad.

Thomas (snapping his fingers dismissively and turning away): Yes, but you’re a girl. I guess it’s fine for a girl to be happy.

John: I said I didn't believe there was such a thing as a fellow being glad to go to school. You're not a fellow, are you? (Both boys laugh and cross over.)

John: I said I didn't think anyone would actually be happy to go to school. You're not one of those people, are you? (Both boys laugh and cross over.)

Thomas: If I was a girl I dare say I'd like to go to school. Of course, that's better than rocking the baby and washing the dishes—but fellows! I tell you they have better ways to pass their time, eh! Jackie? (Pokes him in the ribs. Both laugh.)

Thomas: If I were a girl, I'd totally want to go to school. Obviously, that's better than taking care of the baby and doing the dishes—but guys! I’m telling you, they have way better ways to spend their time, right? Jackie? (Pokes him in the ribs. Both laugh.)

Helen: Well, it's a lucky thing for the world that all boys aren't like you, else where would our great men come from if all the boys were as willing to remain great know-nothings as you two are?

Helen: Well, it's a good thing not all boys are like you, or where would our great men come from if all the boys were as willing to stay ignorant as you two are?

John: O, who wants to be great? Great men have to work, and to sit up nights and worry about things. I'd rather be a plough-boy than a great man any time.

John: Oh, who wants to be great? Great people have to work hard, stay up late, and stress over things. I'd rather be a farmer than a famous person any day.

Thomas: So would I! Nothing to worry about, just follow the horse and keep the plough straight.

Thomas: Me too! There's nothing to stress about, just keep following the horse and maintain a straight line with the plough.

Helen: Well, there's one thing of which both of you may be pretty sure.

Helen: Well, there's one thing you both can be sure of.

Both: What's that?

Both: What's that?

Helen: You are in a fair way to get what you want. You will both be plough-boys until you are too old to hold the plough, and then you can go to the poorhouse, where the "great men" whom you despise will make laws to take care of you.

Helen: You're on track to get what you want. You’ll both be doing manual labor until you’re too old to work the fields, and then you can end up in the poorhouse, where the "important people" you look down on will create laws to take care of you.

Thomas: That's just it; now you are coming around to John's statement. We will not have to worry; others will do that, you see.

Thomas: That's exactly it; now you're starting to agree with John's point. We won't need to stress over it; other people will handle that, you see.

Helen (impatiently): Boys, why don't you brace up and study as you ought to? What's the use of all this « 80 » foolish talk? You know you don't mean a word of it! (Goes up stage.)

Helen (impatiently): Guys, why don’t you get it together and study like you should? What's the point of all this « 80 » silly chatter? You know you don't mean any of it! (Walks upstage.)

John: We do mean it, too, don't we, Tom?

John: We really mean it, right, Tom?

Thomas: You're the one that talks foolishness. You said some boys would be "glad of our chance to go to school."

Thomas: You're the one who talks nonsense. You said some guys would be "happy about our opportunity to go to school."

Helen (coming down quickly): Yes, and it's true, too. I heard my father telling last night about a boy living out in the woods beyond Gentryville who'd give almost anything for your chance. He's never been to school but a few months in his whole life, and—

Helen (coming down quickly): Yes, and it’s true. I heard my dad talking last night about a boy living out in the woods beyond Gentryville who would give almost anything for your opportunity. He’s only been to school for a few months in his entire life, and—

Thomas: O, no wonder he thinks he'd like it, he doesn't know anything about it. I thought it was fun, too, when I was in the primer class.

Thomas: Oh, it's no surprise he thinks he’d enjoy it; he doesn’t know anything about it. I thought it was fun, too, when I was in the beginner class.

John: Yes, so did I.

John: Yeah, me too.

Helen: Well, he's beyond the primer class, I tell you. He knows the old Webster spelling book all by heart, father says.

Helen: Well, he's past the beginner level, I swear. He has the old Webster spelling book memorized, my dad says.

John: How'd he learn it if he hasn't been to school? Your stories don't hitch very well, Miss Preachie.

John: How did he learn it if he hasn't been to school? Your stories don't connect very well, Miss Preachie.

Helen: He learned it all by himself, lying on the floor nights in front of the big fireplace. They are too poor to have even a grease light.

Helen: He taught himself everything, sprawled out on the floor at night in front of the big fireplace. They are too broke to even afford a grease lamp.

Thomas: Must think a lot of that old spelling book. (Both laugh.)

Thomas: You must really value that old spelling book. (Both laugh.)

Helen: Of course he thinks a lot of it. He thinks a lot of any book. Father heard a man telling down at the store that this boy cut four cords of wood for some one, just to get a piece of a book.

Helen: Of course he thinks a lot of it. He thinks a lot of any book. Dad heard someone at the store saying that this guy chopped four cords of wood for someone just to get a bit of a book.

John: O, wanted to read the Arabian Nights, probably.

John: Oh, probably wanted to read the Arabian Nights.

Helen: But it wasn't the Arabian Nights that he bought; it was the Life of Washington.

Helen: But it wasn't the Arabian Nights that he got; it was the Life of Washington.

Thomas: What's the use of his reading the Life of Washington? He's nothing but poor, white trash—too « 81 » poor, you say, even to have a grease light. He'll never be anybody.

Thomas: What's the point of his reading the Life of Washington? He's just poor white trash—too « 81 » poor, you say, to even have a grease light. He'll never amount to anything.

Helen: Don't you be too sure of that. I tell you that boy will be a great man. Some day you'll hear of him yet.

Helen: Don't be so sure about that. I'm telling you, that boy is going to be a great man. One day, you'll hear about him.

John: Just because he was fool enough to cut four cords of wood for a piece of a book?

John: Just because he was foolish enough to chop four cords of wood for a piece of a book?

Thomas: Well, I'd have had the whole book or nothing.

Thomas: Well, I would have wanted the whole book or nothing at all.

John: So would I (sneering). Why he was a fool. O, yes, we'll hear of him, of course. We'll read about him in the back part of the spelling book where the blank leaves are. But what's his name, do you know?

John: Yeah, I would too (sneering). What a fool he was. Oh, for sure, we'll hear about him. We'll read about him in the back of the spelling book where the blank pages are. But do you know what his name is?

Helen: Yes, father told me. His name is Abraham Lincoln: remember it, boys, for I am quite sure you will hear it again some day.

Helen: Yes, Dad told me. His name is Abraham Lincoln: remember it, guys, because I'm pretty sure you'll hear it again someday.

Thomas: Of course we'll remember it; couldn't forget it if we tried. A boy that was as big a greeny as that.

Thomas: Of course we'll remember it; we couldn't forget it even if we wanted to. A boy who was that much of a newbie.

John: I tell you, Helen, the next time that you have to write one of those things which you like so well—a composition—you can write it about "The Two Cuts, or The Wood That Was Cut for a Cut Book." My! but that will be fine. (Both laugh boisterously.)

John: I’m telling you, Helen, the next time you have to write one of those things you enjoy so much—a paper—you should write it about "The Two Cuts, or The Wood That Was Cut for a Cut Book." Wow, that’ll be great. (Both laugh boisterously.)

Helen: Well, you may laugh, boys, but you'll find there'll be plenty of people to write about him, and it may be it will be done while you are yet alive to read the books, and more than that—

Helen: Well, you can laugh all you want, guys, but you'll see that a lot of people will write about him, and it might even be done while you're still around to read the books, and more than that—

(Shouts heard from behind scenes.)

Shouts heard from backstage.

John (running off at right): Come on, Tom, I hear the boys forming for "There, old cat"; we'll be too late.

John (running off to the right): Come on, Tom, I hear the guys getting ready for "There, old cat"; we'll miss it.

Thomas: But, how about your sum and my geography lesson? The teacher'll do something dreadful to us.

Thomas: But what about your math score and my geography lesson? The teacher is going to do something terrible to us.

John (calling back over his shoulder): Bother on them, we'll have time to study after school calls: if we « 82 » don't, who cares? Let Abraham Lincoln do the studying while we are having fun. Come on, come on. (Exit at right.)

John (calling back over his shoulder): Forget about them, we’ll have time to study after school: if we « 82 » don’t, who cares? Let Abraham Lincoln do the studying while we’re having fun. Come on, come on. (Exit at right.)

Helen: Don't go, Tom; stay and have a perfect lesson for once.

Helen: Don't leave, Tom; stay and have a great lesson for once.

Thomas: O, I've heard preaching enough for one morning. (Exit at right, running.)

Thomas: Oh, I've heard enough preaching for one morning. (Exits to the right, running.)

Helen: That's the way it always ends. If I try to have them mend their ways, they just make fun of me for "preaching." (Goes to a desk and takes up book, opens it and sits at desk.) I'm only a girl, of course, but I am going to imitate poor Abe by trying to get a little knowledge into my head. But what foolish boys they are, and some day when Abraham Lincoln is a great man and everyone is talking about the wonderful things he is doing, John and Tom will be standing around whittling sticks and growling because they couldn't be as "lucky as Abraham Lincoln." Well, if I am anywhere around, I'll tell them of the things they said this morning. I know I shall never forget them. (Becomes intent on book.)

Helen: That’s how it always goes. If I try to get them to change their ways, they just mock me for "preaching." (Goes to a desk and picks up a book, opens it, and sits at the desk.) I’m just a girl, of course, but I’m going to follow poor Abe’s example by trying to learn a little. But what foolish boys they are, and someday when Abraham Lincoln is a great man and everyone is talking about all the amazing things he’s done, John and Tom will just be standing around whittling sticks and complaining because they couldn’t be as "lucky as Abraham Lincoln." Well, if I am anywhere nearby, I’ll remind them of what they said this morning. I know I’ll never forget it. (Becomes focused on the book.)

Curtain

Curtains


Clara J. Denton

Clara J. Denton

A DIALOGUE FOR FIVE BOYS

A Conversation for Five Boys

CHARACTERS

CHARACTERS

Captain Lincoln
Lieutenant Dash
Private Dunn
Sergeant Free
Gerolomo, the Indian

Captain Lincoln
Lt. Dash
Private Dunn
Sgt. Free
Gerolamo, the Indian

COSTUMES

COSTUMES

Soldiers: For the four soldiers, suitable military outfits.

Soldiers: The four soldiers should be dressed in appropriate military uniforms.

Indian: If a wig of long black hair is obtainable, part the hair and make into two heavy braids, twisting yellow or red flannel through the braids which hang down close to the face on either « 83 » side. If a wig is impossible, decorate a strip of pasteboard with chicken feathers and fasten it around the head. Wear a brightly colored blanket thrown over a pair of overalls and dark cotton shirt. Wear moccasins. Carry old-fashioned gun.

Indian: If you can find a wig with long black hair, part it and style it into two thick braids, weaving in yellow or red flannel into the braids that hang down close to your face on both sides. If a wig isn’t possible, decorate a strip of cardboard with chicken feathers and tie it around your head. Wear a brightly colored blanket over a pair of overalls and a dark cotton shirt. Put on moccasins. Carry an old-fashioned gun.

The character of Lincoln must be taken by boy much taller than the others.

The character of Lincoln should be played by a boy who is much taller than the others.

SCENE

Scene

Camp; tent in foreground with flap up, showing rude bed, gun, knapsack, etc.

Camp; a tent in the foreground with a flap open, showing a rough bed, a gun, a knapsack, and more.

Lieutenant Dash and Sergeant Free are discovered lying at full length not far from tent.

Lt. Dash and Sgt. Free are found stretched out not far from the tent.

Lieutenant (rising): Well, I must say, I'm mighty tired lying 'round here waiting for that boat to come.

Lieutenant (rising): Well, I have to say, I'm really tired of just lying around waiting for that boat to arrive.

Sergeant (yawns and rolls over): Guess we'll never get where the Indians are if we wait for that boat. Wish we could all swim across the river. Captain Lincoln's getting mighty tired of waiting, too.

Sgt. (yawns and rolls over): I guess we’ll never reach the Indians if we keep waiting for that boat. I wish we could just swim across the river. Captain Lincoln is getting really tired of waiting, too.

Lieutenant: No wonder! Such an unruly lot as he has to hold in check here.

Lt.: No surprise! He has to manage such a wild group here.

Sergeant: Yes, think of his being blamed for that rowdy crowd breaking into the storehouse and drinking up all the whiskey. He didn't know a thing about it until it was all over.

Sgt.: Yeah, imagine him getting blamed for that wild crowd crashing into the storehouse and downing all the whiskey. He had no idea it was happening until it was too late.

Lieutenant (walking up and down): Yes, but you see that's the way things go; he's at the head of the company and he just has to stand the blame for all their meannesses. I should think they'd be a little careful of their doings for they all like him, or seem to, anyway.

Lt. (walking up and down): Yeah, but that's just how it is; he's the leader of the company and has to take the heat for all their bad actions. I would think they'd be a bit more mindful of what they do since they all seem to like him, or at least act like they do.

Sergeant: You see, they just didn't think, that's the trouble with them.

Sarge: You see, they just didn't think; that's their problem.

Lieutenant: Perhaps they'll be more careful after this, that is if they like him as well as they pretend to.

Lieutenant: Maybe they'll be more careful after this, assuming they actually like him as much as they say they do.

Sergeant (jumping up): Oh, that's all real; they like him, you can depend on that. Didn't you ever hear how he came to be captain?

Sgt. (jumping up): Oh, that's definitely true; they really like him, you can count on that. Didn't you ever hear how he became captain?

Lieutenant: No, I have often wondered about it, for he's young for that position. Tell me all about it if you can. (Seats himself on ground near door of tent.)

Lieutenant: No, I've often thought about it, since he's young for that role. Share everything you can about it. (Sits on the ground near the tent door.)

Sergeant: Well, it was this way; it's not a very long story, but I might as well sit down. (Sits on other side of door.) You see, there were two fellows put up: Kirkpatrick and Lincoln. The vote was taken in a field, by directing the fellows at the command "march," to gather around the one they wanted for captain. The other fellow was a good deal older than Lincoln and I s'pose most folks would say he was better fitted to be captain, but's sure's you live a good big majority went over to Lincoln's side. And I never saw a fellow so tickled as Lincoln was! (Slapping his knee with his right hand.)

Sgt.: So here's what happened; it's not a long story, but I might as well take a seat. (Sits on the other side of the door.) There were two guys up for captain: Kirkpatrick and Lincoln. They took a vote in a field, having everyone gather around the guy they wanted when the command "march" was given. The other guy was quite a bit older than Lincoln, and I guess most people would say he was better suited to be captain. But, believe it or not, a pretty big majority ended up on Lincoln's side. And I've never seen anyone as happy as Lincoln was! (Slapping his knee with his right hand.)

Lieutenant: Well, now, they ought to stand by him and not cut up any more rowdy tricks, to have him disgraced by wearing a wooden sword. Better talk to them just as soon as you get a chance.

Lieutenant: They should support him and stop pulling any more wild stunts that would make him look bad for having to wear a wooden sword. You should talk to them as soon as you can.

Sergeant: I will, sir, that I will. (Enter Private Dunn at left. He comes down and salutes.)

Sgt.: I will, sir, that I will. (Enter Private Dunn from the left. He approaches and salutes.)

Private: You just ought to have been up the road with the boys a couple of hours ago. I tell you, we had heaps of fun. Talk about Indians!

Private: You really should have been up the road with the guys a couple of hours ago. I swear, we had so much fun. You wouldn't believe it!

Lieutenant (jumping up) Please provide the text you would like me to modernize.     Indians!
Sgt. (rushing to him)

Private (crossing over): Indians! (Waving his hands for them to remain calm.) No, just one poor lonesome, hungry Indian—an old one at that.

Private (crossing over): Indians! (Waving his hands for them to stay calm.) No, just one lonely, hungry Indian—an old one, too.

Lt. }     Did they kill him?
Sarge

Private: I guess not! the Captain was there.

Private: I suppose not! The Captain was there.

Lieutenant: Well, what did they do to make any fun?

Lt.: So, what did they do to have any fun?

Private: Well, they all ran at him with their guns, yelling "Redskin! Scalp him! Kill him! He's what we're after." Then the frightened old fellow drew from his belt a letter and whined out "Me good Injun, me no harm paleface. See—paper; from big white war chief." Someone « 85 » grabbed the letter and read it aloud. It was from General Cass and said that the bearer Gerolomo was a friendly Indian and that he must be given food and shelter.

Private: Well, they all rushed at him with their guns, shouting "Native! Scalpel him! Kill him! He's what we're after." Then the scared old guy pulled a letter from his belt and whined, "I'm a good Indian, I mean no harm to the white man. See—paper; from the big white war chief." Someone « 85 » snatched the letter and read it out loud. It was from General Cass and said that the bearer Gerolomo was a friendly Indian and that he should be given food and shelter.

Lieutenant: Forged letter, no doubt.

Lieutenant: Definitely a forged letter.

Sergeant: I bet he was a spy.

Sgt.: I bet he was a secret agent.

Private: That's just what the others said. They all got around him and yelled "Shoot him! Kill him!" till I didn't think the poor beggar's life was worth two bits. He thought so, too, I guess, for he was so scared that he was almost white. They were all around him so that he couldn't run—tell you it looked tough. (Draws long breath.)

Private: That's exactly what the others said. They all surrounded him and yelled, "Shoot him! Kill him!" until I thought the poor guy's life wasn't worth anything. I guess he thought so too, because he was so scared he looked almost pale. They were all around him so he couldn’t escape—it really looked rough. (Draws long breath.)

Lieutenant: But go on; you said they didn't kill the worthless cur?

Lt.: But keep going; you said they didn’t kill the useless mutt?

Private: "Worthless cur!" Well, I guess not! the Captain heard the men and dashing in among them, he laid his hand on the Indian's shoulder, and he just roared: "The first man that touches him dies!" O, boys, you'd orter been there. (Goes up.)

Private: "Useless mutt!" Well, I guess not! The Captain heard the men and rushed in among them, placing his hand on the Indian's shoulder, and he shouted: "The first person who touches him is dead!" Oh, guys, you should have been there. (Goes up.)

Sergeant: Come back and tell the rest; what happened then?

Sgt.: Come back and tell everyone else; what happened next?

Private (comes down): Someone sung out, "O, you're a coward, afraid of an old Indian. Let us have him!" Whew! You'd orter seen him then. I never see the Captain so mad. "Who says I'm a coward?" he roared, rolling up his sleeves.

Private (comes down): Someone shouted, "Oh, you're a coward, scared of an old Indian. Let us handle him!" Wow! You should have seen him then. I’ve never seen the Captain so furious. "Who calls me a coward?" he bellowed, rolling up his sleeves.

Lieutenant: Well, did they fight him? (Laughs.)

Lt.: So, did they actually fight him? (Laughs.)

Private: Guess not—didn't want to tackle that job. So the Captain after a minute or two took the old Indian by the arm and led him off to feed.

Private: I guess not—didn’t want to deal with that task. So the Captain, after a minute or two, took the old Indian by the arm and led him away to eat.

Sergeant: That was just like the Captain, but it may be the old fellow is a spy after all.

Sgt.: That was typical of the Captain, but he might actually be a spy after all.

Lieutenant: Well, I guess that's the only Indian that we are likely to see and it's too bad of the Captain to spoil the boys' fun. O, here comes the noble red man « 86 » now. (Gerolomo enters at right, comes down slowly and timidly.)

Lieutenant: Well, I guess that's the only Native American we're likely to see, and it's too bad the Captain is ruining the boys' fun. Oh, here comes the noble red man « 86 » now. (Gerolamo enters from the right, walking in slowly and nervously.)

Lieutenant: Hullo, there, you redskin! What's your name? (Goes to him.)

Lieutenant: Hey, you there, what's your name? (Walks over to him.)

Indian: Gerolomo. Me heap good Injun; heap like paleface, bring paleface heap meat. (Shows gun and continues to move on slowly across stage.)

Indian: Gerolomo. I'm a good Indian; I really like white people, they bring me a lot of food. (Shows gun and continues to move on slowly across stage.)

Lieutenant: Stand still, there, and tell us where the rest of your people are; we'd like pretty well to kill a few hundred.

Lieutenant: Stay right there and tell us where the rest of your group is; we’d really like to take out a few hundred.

Indian (stands): Big paleface tell Gerolomo go bring venison, go bring duck.

Indian (stands): A big white man tells Gerolomo to go get deer meat and ducks.

Lieutenant: Well, why don't you do it, then? Better mind him, I tell you, or he'll have you shot.

Lt.: Well, why don’t you just go ahead and do it? You better listen to him, I’m telling you, or he’ll have you shot.

Indian (shaking head decidedly): No, no, big paleface heap good, heap brave; no harm poor Injun.

Indian (shaking head firmly): No, no, big white guy is very good, very brave; no harm to poor Native American.

Sergeant (going to Indian): You're off now, I'll bet, to tell your people just where to find us and just how many palefaces there are here.

Sgt. (going to Indian): I bet you're heading off now to tell your people exactly where to find us and how many white folks are here.

Indian (repeats former business): No, no, Gerolomo go tell big paleface got venison, got duck, got squirrel.

Indian (repeats former business): No, no, Gerolomo, go tell the big white guy we have venison, duck, and squirrel.

Private (going to him and shaking his fist at him): None o' your lying now. If you go to the Captain with that yarn he'll make short work o' you. The Captain hates a liar, he does.

Private (going to him and shaking his fist at him): Don't lie to me. If you take that story to the Captain, he’ll deal with you quickly. The Captain can't stand liars, he really can't.

Indian (whining): Me no lie, me good Injun. Me go tell big paleface me bring venison, me bring duck, me bring squirrel.

Indian (whining): I’m not lying, I’m a good Indian. I’ll go tell the big white man that I’m bringing deer meat, I’m bringing duck, I’m bringing squirrel.

Lieutenant (to the others): Listen to that, will you? He'll bring venison, he'll bring duck, he'll bring squirrel. My! but we'll be living high. (All laugh.)

Lieutenant (to the others): Listen to that, will you? He'll bring deer meat, he'll bring duck, he'll bring squirrel. Wow! We're going to be living it up. (All laugh.)

Sergeant: We'd like to see your venison, your duck, and your squirrel.

Sgt.: We want to check your venison, your duck, and your squirrel.

Indian (briskly): All right, me bring 'em in, me bring heap meat. (Turns about and moves toward right exit.)

Indian (briskly): Okay, I'll bring them in, I'll get a lot of meat. (Turns around and heads towards the right exit.)

Lieutenant: Better go with him, Dunn, because if he is lying to us, which he probably is, he'll not come back.

Lieutenant: You better go with him, Dunn, because if he's lying to us, which he probably is, he won't come back.

Private: All right, come on you "heap good Injun." We'll see what you've got out there. (Exeunt.)

Private: Okay, let's go, you "worthless Indian." We'll find out what you're made of out there. (Exeunt.)

Sergeant (saluting): Hadn't I better go, too, Lieutenant? He may get away from Dunn.

Sgt. (saluting): Shouldn't I go as well, Lieutenant? He might escape from Dunn.

Lieutenant: No, I think Dunn can manage him. But hasn't he learned the trick of telling a good lie?

Lieutenant: No, I think Dunn can handle him. But hasn't he figured out how to tell a good lie?

Sergeant: I should think so. Venison, duck and squirrel, and he's only been in the woods a few hours.

Sgt.: I would think so. Venison, duck, and squirrel, and he's only been in the woods for a few hours.

Lieutenant: Well, of course he may be telling the truth, because the woods are full of game, and I daresay the old fellow is a good shot.

Lieutenant: Well, he could be telling the truth, because the woods are full of game, and I'm sure the old guy is a good shot.

(Enter Private Dunn, carrying a squirrel in one hand, a duck in the other, followed by Gerolomo dragging a dead deer. They stop at center. Lieutenant Dash and Sergeant Free run to them.)

(Enter Private Dunn, holding a squirrel in one hand and a duck in the other, followed by Gerolamo pulling a dead deer. They stop in the center. Lt. Dash and Sgt. Free hurry over to them.)

Lieutenant: Well, really, you old redskin you have told the truth for once in your life.

Lieutenant: Well, honestly, you old redskin, you've actually told the truth for once in your life.

Indian (lifting his hands and eyes): Me shoot for big paleface. Great Spirit tell Gerolomo where venison, where duck, where squirrel for big paleface. Great Spirit always take care of big paleface. (Captain Lincoln enters at left and comes down slowly, unseen by Gerolomo. The others salute.) Big paleface take care poor old Gerolomo.

Indian (raising his hands and eyes): I'm aiming for the big white man. The Great Spirit shows Gerolomo where to find deer, where to find ducks, where to find squirrels for the big white man. The Great Spirit always looks out for the big white man. (Captain Lincoln enters from the left and walks down slowly, unseen by Gerolamo. The others salute.) The big white man takes care of poor old Gerolomo.

Captain Lincoln (goes to Indian and lays hand on his shoulder): You have obeyed my orders and kept your promise, the whitest soldier among us all could have done no better.

Captain Lincoln (walks over to Indian and puts a hand on his shoulder): You’ve followed my orders and kept your promise; no other soldier here could have done any better.

Tableau

Tableau

Curtain

Curtain


Clara J. Denton

Clara J. Denton

A PLAY IN TWO ACTS FOR FOUR GIRLS AND THREE BOYS

A PLAY IN TWO ACTS FOR FOUR GIRLS AND THREE BOYS

CHARACTERS

CHARACTERS

Mrs. Mortimer, mother of the family
Sally Caroline, the daughter
Albert, the son
Mr. Mortimer, father (this character has no lines)
Auntie Temp, a negro slave
George Washington Augustus, her son
Clementina Diana, her daughter

Ms. Mortimer, the mother
Sally Caro, the daughter
Albert, the son
Mr. Mortimer, the father (this character doesn't speak)
Auntie Temp, a former enslaved person
George Washington Augustus, her son
Clementina Diana, her daughter

SCENE

Scene

Neat home interior. Old-fashioned hair-cloth sofa at right of stage. Hair-cloth rocking-chair at left. Marble-topped table at center. Easel with large picture of Lincoln near center. Cane seat rocking-chair at left-front, also another at right-front. Crocheted tidies on sofa and all rocking-chairs, and any other minor accessories that will give to the room an old-fashioned appearance.

Stylish home interior. A vintage upholstered sofa on the right side of the stage. An upholstered rocking chair on the left. A marble-topped table in the center. An easel displaying a large picture of Lincoln near the middle. A cane-seat rocking chair at the left front, and another one at the right front. Crocheted covers on the sofa and all the rocking chairs, along with various small decorations that give the room a vintage vibe.

COSTUMES

COSTUMES

Mrs. Mortimer and Sally Caroline: For these two characters borrow dresses made during the '60's. If this is impossible, make gowns of some cheap yet good-looking material to represent such. Let the skirt be very full and worn over hoops; the waist plain and tight-fitting with wide flowing sleeves with white muslin undersleeves. Wear a broad, flat, embroidered collar. Mrs. Mortimer wears her hair parted in the middle, two curls on either side of her face, held in place by side-combs; the remainder fastened in a knot at the back. Sally Caroline's hair hangs in curls. Let these costumes be planned and overlooked by a skillful matron who is at least sixty years of age.

Mrs. Mortimer and Sally Caroline: For these two characters, please borrow dresses made in the 1960s. If that’s not feasible, create gowns from some budget-friendly yet stylish fabric to capture that look. The skirt should be very full and worn over hoops; the waist should be simple and fitted with wide, flowing sleeves and white muslin undersleeves. Include a broad, flat, embroidered collar. Mrs. Mortimer styles her hair parted in the middle with two curls on either side of her face, secured by side-combs, while the rest is tied in a knot at the back. Sally Caroline's hair should hang in curls. Have a skilled matron who is at least sixty years old design and oversee these costumes.

Albert: In first act he wears an ordinary suit for young man; in second act butternut-color suit, ragged and soiled.

Albert: In the first act, he wears a standard suit for a young man; in the second act, he wears a butternut-colored suit that is tattered and dirty.

Auntie Temp: Bright-colored print gown, wide gingham apron, bright bandanna kerchief tied on head. This character should be represented by a stout person, if possible.

Auntie Temp: A colorful printed dress, a large checkered apron, and a bright bandana tied around her head. This character should ideally be portrayed by someone stout.

George Washington Augustus: Overalls and "jumper" of blue denim.

George Washington Augustus: Blue denim overalls and a "jumper."

Clementina Diana: Cotton gown. The two last named must wear negro wigs or wigs of black wool. The characters making-up « 89 » for negroes should cover the faces with some sort of toilet cream before applying the burnt cork or "black-face" preparation.

Clementina Diana: A cotton dress. The last two mentioned must wear black wigs or wigs made of black wool. Characters dressing up as black individuals should cover their faces with some kind of makeup cream before applying burnt cork or "blackface" makeup. « 89 »

Mr. Mortimer: United States military uniform faded and ragged.

Mr. Mortimer: An worn and tattered United States military uniform.

ACT I

ACT I

Auntie Temp (before the curtain rises): Gawge Washington Augustus. O, Gawge Washington Augustus, Gawge Washington Augustus, I say. (Curtain rises. Auntie Temp is seen leaving stage at right.)

Auntie Temp (before the curtain rises): George Washington Augustus. Oh, George Washington Augustus, George Washington Augustus, I say. (Curtain rises. Auntie Temp is seen leaving stage at right.)

George (enters at left): I was jes' suah I yerd mammy callin' me in heah. Wondah whar she went? Mighty ha'd times dese is foh de niggahs, dat's suah. What wid ole marsa goin' off wid de Linkum sojas an' young marsa stampin' 'round an' sayin' he foh suah cehtain am agoin' wid de Fed'rates I mos' done wish I hain't nevah been bo'n. I is foh suah.

George (enters from the left): I was just sure I heard my mom calling me in here. I wonder where she went? These are really tough times for us Black folks, that's for sure. With old master going off with the Lincoln soldiers and young master stomping around saying he’s definitely going with the Confederates, I almost wish I had never been born. I really do.

(Singing behind scenes, a strain of any darkey melody that may be convenient, though the following, is especially appropriate. George pauses to listen.)

(Singing offstage, a hint of any soulful melody that fits, but the following is particularly fitting. George pauses to listen.)

George (continues after the singing dies out, looking toward right): Dere comes dat worfless Clementina Diana, ef she is my sistah. 'Peahs lak any niggah dat can sing now-a-days ain't got no heart, jes' all gizzahd lak a chicken. (Clementina enters at right, still singing.) Shet up dere, Clementina Diana, how kin you go a-singin' 'round right in de midst o' dis yere wah when de folkses is a-shootin' each udder down, an' a—an' a——

George (continues after the singing dies out, looking toward right): Here comes that worthless Clementina Diana, if she is my sister. Seems like any person who can sing nowadays has no heart, just all feathers like a chicken. (Clem enters at right, still singing.) Shut up, Clementina Diana, how can you keep singing right in the middle of this war when people are shooting each other down, and a—and a——

Clementina: O, pshaw! Gawge Washington Augustus, I didn't make de wah, 'sides I hain't seen none o' it, so I might's well be gay and happy while I kin. Mammy's been a-squawkin' foh ye dis yere long while.

Clem: Oh, come on! George Washington Augustus, I didn't start the war, and I haven't seen any of it, so I might as well be cheerful and happy while I can. Mom's been fussing about you for a long time now.

George: Where's she gone ter?

George: Where's she gone to?

Clementina: O! I dunno. (This in a slipshod way, shrugging her shoulders. Continues singing and exits at left.)

Clem: Oh! I don't know. (Saying this casually, shrugging her shoulders. Continues singing and exits to the left.)

♫ Click here to play song.

George: Ef that hain't de most disrisponsible niggah gal dat eber breaved de bref o' life! If I's lak she am I'd run off tomowow and jine dem Linkum sojas, but I jes' cain't do it. I jes' keep a-wonderin' what dey all will do at home widout me. Well, I reckon I'll go hunt up mammy. (Exits at right.)

George: If that isn't the most irresponsible girl that ever took a breath! If I were like her, I'd run off tomorrow and join those Lincoln soldiers, but I just can't do it. I keep wondering what they all will do at home without me. Well, I guess I'll go find my mom. (Exits at right.)

Sally (enters at left carrying open letter): Poor Cousin Bessie Helen, she has left her beautiful Alabama home with all its grand furniture and has run away with her brothers and sisters to grandpa's home here in Tennessee. What a foolish thing for her to do. (Reads from letter): "When they told me the Yankee soldiers were coming I couldn't think of anything but to get away safely with the children before the soldiers came in and butchered us all." How foolish she was! I am sure the officers would have seen that she came to no harm. (Goes to Lincoln's portrait and places her hand upon it.) It is plain that she has never looked upon your noble face. If she had she would have felt, as I do, that at least some small measure of your beautiful spirit must be scattered abroad through your army to keep the men from harming helpless widows and children. But, poor Bessie! she has only heard dreadful stories about you, and so, with her mother in her grave, and her father fighting against the Yankees she could see no safety except in flight. I must write to her and tell her something of our beloved Lincoln and the army which he controls. (Albert enters at left.) O, Albert, I am so glad you have come in just now. I have here a letter from Cousin Bessie; she is at grandfather's here in Tennessee.

Sally (enters from the left carrying an open letter): Poor Cousin Bessie Helen, she has left her beautiful home in Alabama with all its fancy furniture and has run away with her brothers and sisters to Grandpa's place here in Tennessee. What a silly thing for her to do. (Reads from the letter): "When they told me the Yankee soldiers were coming, I couldn't think of anything but getting away safely with the kids before the soldiers arrived and harmed us all." How silly she was! I'm sure the officers would have made sure she was safe. (Goes to Lincoln's portrait and places her hand on it.) It’s obvious she’s never seen your noble face. If she had, she would have felt, like I do, that at least some part of your beautiful spirit has spread through your army to prevent the men from hurting innocent widows and children. But, poor Bessie! She has only heard terrible stories about you, so with her mother in her grave and her father fighting against the Yankees, she saw no option but to flee. I need to write to her and tell her more about our beloved Lincoln and the army he leads. (Albert enters from the left.) Oh, Albert, I'm so glad you came in right now. I have a letter from Cousin Bessie; she's at Grandpa's here in Tennessee.

Albert: In Tennessee?

Albert: In TN?

Sally: Yes, read her letter; she was so afraid of the Yankee soldiers.

Sally: Yeah, read her letter; she was really scared of the Yankee soldiers.

Albert: And well she might be, the hounds!

Albert: And she definitely has a reason to be, the hounds!

Sally: Hush! (placing right-hand forefinger to lips): Albert, do you forget that our father is one of them?

Sally: Shh! (putting her right index finger to her lips): Albert, don't you remember that our dad is one of them?

Albert (walking up and down excitedly): Indeed, I don't forget! I think of it every hour, and it is that which makes me so furious. How can he accept those low-down Northerners as his associates?

Albert (walking up and down excitedly): I definitely remember! I think about it all the time, and that's what makes me so angry. How can he team up with those lousy Northerners?

Sally: Brother, be still! Look at that face! (Points to Lincoln's portrait.) He is a Northerner, altho' he was born in Kentucky, and for his sake I love them all.

Sally: Brother, calm down! Check out that face! (Points to Lincoln's portrait.) He's a Northerner, even though he was born in Kentucky, and because of him, I care about them all.

Albert: Then you must hate all your friends and relatives that are fighting against him.

Albert: Then you must hate all your friends and family who are fighting against him.

Sally: No, no, dear brother, I do not. Don't you remember how the grand Lincoln closed his inaugural address? "We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave, to every living heart and hearthstone,——"

Sally: No, no, dear brother, I don’t. Don’t you remember how the great Lincoln finished his inaugural speech? "We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave, to every living heart and home,——"

Albert (interrupting): There, stop, I will not listen to any more of his stuff.

Albert (interrupting): Hold on, I’m not going to listen to any more of his nonsense.

Sally (continuing rapidly): "All over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature." Are those not wonderful words?

Sally (continuing rapidly): "Across this vast land, the chorus of the Union will rise again when they are once more inspired by the better angels of our nature." Aren't those amazing words?

Albert: Stuff and sentimentalism, that's what they are!

Albert: It's all just stuff and sentimentality, that's what it is!

Sally: O, Albert, how can you talk so? Think of it! Today is his birthday; today you should delight to honor him.

Sally: Oh, Albert, how can you say that? Just think about it! Today is his birthday; today you should be excited to celebrate him.

Albert: His birthday! Who cares?

Albert: It's his birthday! Who cares?

Sally: Everyone should give thanks for this day.

Sally: Everyone should be grateful for this day.

Albert (laughing): What nonsense you talk, Sally Caroline.

Albert (laughing): What nonsense you're saying, Sally Caroline.

Sally: Well, you will see. The time will come when the Country will celebrate his birthday just as they now do Washington's.

Sally: Well, you’ll see. The day will come when the country will celebrate his birthday just like they do Washington's now.

Albert: O, come now, that's too much. It's bad « 93 » enough to know that we are to have another four years of his tyranny, without hearing you sing his praises.

Albert: Oh, come on, that's over the top. It's bad « 93 » enough to know we have to endure another four years of his tyranny without listening to you sing his praises.

Sally: But, you'll have to hear it; the war will soon be over, and he will be proclaimed as the Savior of his Country.

Sally: But, you need to hear it; the war will be over soon, and he will be hailed as the Savior of his Country.

Albert: O, stop! The war is not anywhere near over: it is but begun. I'll not listen to this talk any longer. I resent it. I'll not hear any more of Abraham Lincoln. (Goes up stage in great excitement.)

Albert: Oh, stop! The war is nowhere near over; it has just started. I can't listen to this conversation any longer. I'm upset by it. I don't want to hear anything more about Abraham Lincoln. (Moves upstage in great excitement.)

Sally (excitedly): Why, Albert! How can you talk so? Why you sound just like a rebel.

Sally (excitedly): Wow, Albert! How can you say that? You sound just like a rebel.

Albert (turns and coming to center stands): And that is just what I am, a rebel! A rebel against the tyranny of Abraham Lincoln.

Albert (turns and comes to center stands): And that’s exactly what I am, a rebel! A rebel against the tyranny of Abraham Lincoln.

(Sally drops into rocking-chair at left-front; buries her face in her handkerchief and sobs violently.)

(Sally sits down in the rocking chair at the front left; hides her face in her handkerchief and cries hard.)

Albert (comes down): There, there, little sister! don't take on so; surely you have known my sentiments before this.

Albert (comes down): There, there, little sister! Don’t get so upset; you’ve known how I feel about this for a while now.

Sally (rising): O, but you never talked quite so wickedly before. How could you say things like that with his noble, benign face looking straight at you?

Sally (rising): Oh, but you never spoke so wickedly before. How could you say things like that with his noble, kind face looking right at you?

Albert (scornfully): Noble, benign face, indeed! I'll tear it into ribbons. I have put up with this thing long enough. (He goes toward picture. Sally runs quickly, intercepts him, and stands in front of picture, placing her arms protectingly across it.)

Albert (with contempt): A noble, kind face, for sure! I’m going to rip it to shreds. I’ve dealt with this long enough. (He moves towards the picture. Sally quickly steps in front of him, placing her arms protectively across the picture.)

Albert: Stand aside!

Albert: Step aside!

Sally: Never!

Sally: No way!

Albert (loudly): Stand aside, I say!

Albert (loudly): Step aside, I say!

Sally: Never!

Sally: No way!

Mrs. Mortimer (enters at right): Children, what in the world are you doing? Albert, was that you speaking like that to your sister? I could hardly believe my ears. (Albert goes to sofa and buries his face in his hands.)« 94 » What in the world are you doing, Sally Caroline? Come and sit down.

Mrs. Mortimer (enters from the right): Kids, what on earth are you doing? Albert, was that you talking to your sister like that? I can barely believe my ears. (Albert goes to the sofa and buries his face in his hands.)« 94 » What on earth are you doing, Sally Caroline? Come and sit down.

Sally: No, mother, not until Albert promises me that he will not molest this picture.

Sally: No, mom, not until Albert promises me that he won't mess with this picture.

Mrs. Mortimer: Molest that picture! Why should he? Your father paid ten good dollars of United States money for that picture and I reckon Albert doesn't want to waste money like that. Come here, Albert. (She sits in rocking-chair at right-front.) Do come away from that picture, Sally Caroline; how ridiculous you look spread out there. Come away, I say!

Mrs. Mortimer: Mess with that picture? Why would he? Your dad spent ten decent dollars on that picture, and I doubt Albert wants to throw money around like that. Come here, Albert. (She sits in a rocking chair at the front right.) Please, get away from that picture, Sally Caroline; you look so silly sprawled out like that. Get away, I said!

Sally: No, mother; not until Albert promises me that he will not harm this picture.

Sally: No, mom; not until Albert promises me that he won't damage this picture.

Mrs. Mortimer: Of course he will not harm it. I can answer for that. Harm a picture which his father loves so well? I cannot imagine my son doing a deed like that. Albert, come to me.

Mrs. Mortimer: Of course he won't harm it. I can guarantee that. Harm a picture that his father loves so much? I can't picture my son doing something like that. Albert, come here.

Albert (rising): Mother, I see that I have no place here. I will get across the line some way this very day, and join the Confederate Army. (Sally runs to him.)

Albert (standing up): Mom, I realize I don’t belong here. I’m going to find a way to cross the line today and join the Confederate Army. (Sally runs to him.)

Mrs. Mortimer (rises): What! My son fight against the old flag?

Mrs. Mortimer (stands up): What! My son is fighting against the old flag?

Sally: Albert, Albert; O, you cannot mean it!

Sally: Albert, Albert; Oh, you can't be serious!

Albert: Mother, you are a Southern woman; you ought to bid me godspeed.

Albert: Mom, you're a Southern woman; you should wish me well.

Mrs. Mortimer: Yes, I am a Southern woman, but I am the descendant of men who helped to bind these States together, and no child of mine shall, with my consent, help to sever them. You shall not go, Albert.

Ms. Mortimer: Yes, I’m a Southern woman, but I’m a descendant of those who helped unite these States, and my child will not, with my approval, help to tear them apart. You will not go, Albert.

Albert: Mother, I must! I shall—go. (Exit at right, running. Sally and Mrs. Mortimer throw their arms about each other and sink upon the sofa.)

Albert: Mom, I really have to! I’m leaving. (Exits to the right, running. Sally and Ms. Mortimer embrace each other and collapse onto the sofa.)

Curtain

Curtains

Here may be introduced a short drill of the Blue and the Gray if desirable. It would certainly have a pleasing effect and would tend to add variety and spice to the entertainment.

Here, a brief performance featuring the Blue and the Gray could be included if desired. It would definitely create an enjoyable atmosphere and would add some variety and excitement to the entertainment.

ACT II

Act 2

Fife and drum heard playing YANKEE DOODLE, behind scenes. Auntie Temp discovered dusting the furniture.

Fife and drum can be heard playing YANKEE DOODLE in the background. Auntie Temp is found dusting the furniture.

Auntie Temp: Never seen nuthin' lak dem chilluns. Dat dere Clementina Diana she's jes' nuthin' but a no-'count shif'less niggah eber sence dem Linkum sojas come 'round heah. She found dat ole fife somewha's 'round an' she jes' blow on it all day long (puffing in her excitement); cain't get nuthin' else out'n her, an' Gawge Washington Augustus! (laughing) golly, he's jes' 's bad, he des poun' de old drum. O, deah, mighty queah times when niggahs jes' tinks dey's got nuthin' to do but stan' 'round and make jig music.

Auntie Temp: I've never seen anything like those kids. That Clementina Diana is just a lazy good-for-nothing ever since those Lincoln soldiers came around here. She found that old fife somewhere and she just plays it all day long (puffing in her excitement); can’t get her to do anything else, and George Washington Augustus! (laughing) goodness, he's just as bad, he just pounds on the old drum. Oh dear, what strange times when people think they have nothing to do but stand around and play dance music.

Mrs. Mortimer (enters at right): Aunt Temp, those children of yours can make pretty good music. I think we'll have to send them to that new Fisk University, just founded. (Sits in rocking-chair at right-front.)

Mrs. Mortimer (enters from the right): Aunt Temp, your kids can really make some great music. I think we should send them to that new Fisk University that just opened up. (Sits in the rocking chair at the front right.)

Auntie Temp: Lan' sakes alive, Miss' Em'line! what de wo'ld you-all do dat foh? Suah dem chilluns ain't done nuthin' foh to shet dem up in de what ye call it, tentiarity.

Auntie Temp: Goodness gracious, Miss Em'line! What in the world would you do that for? Surely those kids haven't done anything to deserve being locked up in that, what do you call it, detention.

Mrs. Mortimer: O, Aunt Temp, I didn't say the Penitentiary. I said the University; that's where they educate the darkies, you know, and when they are natural musicians like your children, they teach them all the branches of music.

Ms. Mortimer: Oh, Aunt Temp, I didn't mention the Penitentiary. I said the University; that's where they educate the Black students, you know, and when they have a natural talent for music like your kids, they teach them all areas of music.

Auntie Temp: What! eddicate de niggahs! I hain't nevah seen no good come o' dat. I'll eddicate that Gawge Washington Augustus to saw wood, and Clementina Diana has jes' nachually got to lea'n to make a hoe-cake 's good 's her mammy kin. I cain't see no use o' nuthin' else. Lan' sakes, I reckon what's good enough « 96 » for dere ole niggah mammy 's good enough for dem two black niggahs. (Placing arms akimbo and holding head up proudly.)

Auntie Temp: What! Educate those kids! I've never seen anything good come from that. I'll teach George Washington Augustus to chop wood, and Clementina Diana just has to learn to make a hoe-cake as good as her mom can. I don't see the point in anything else. Goodness, I figure what's good enough for their old mom is good enough for those two kids. (Placing arms akimbo and holding head up proudly.)

Mrs. Mortimer: But everything's changed now, you know, Aunt Temp: there aren't any slaves any more, and so we must teach you colored people to take care of yourselves.

Ms. Mortimer: But everything's changed now, you know, Aunt Temp: there aren't any slaves anymore, and so we have to teach you people of color to take care of yourselves.

Auntie Temp: Yes, I know, I yerd lots o' dat kin' o' talk jes' dese yere days, but I reckon I jes' stays right heah wif you-alls twell I dies.

Auntie Tempy: Yeah, I get it, I hear a lot of that kind of talk these days, but I guess I'll just stay right here with all of you until I die.

Clementina (running in from right): O, mammy, did you-all heah de music?

Clem (running in from right): Oh, mom, did you hear the music?

Auntie Temp: Go 'long ye good-foh-nuthin' shif'less niggah; doan ye see de mist'ess?

Auntie Temp: Get out of here, you good-for-nothing lazy man; don’t you see the lady?

Clementina (turns and ducks her head and shoulders: a rude imitation of a curtsy): O, 'scuse me Miss' Em'line. I was jes' plum' crazy ovah dat fife. Golly, but dat's fine!

Clementine (turns and ducks her head and shoulders: a rude imitation of a curtsy): Oh, excuse me Miss Em'line. I was just totally crazy about that flute. Wow, that's great!

Mrs. Mortimer: You can play as well as a man, Clementina: come here. (Mrs. Mortimer takes Clementina's hand and leads her to Lincoln's picture.) Do you know who this is?

Mrs. Mortimer: You can play just as well as a guy, Clementina: come here. (Mrs. Mortimer takes Clementina's hand and leads her to Lincoln's picture.) Do you know who this is?

Clementina (looking very serious): Suah I duz, Miss' Em'line; dis heah (lays her hand on picture) is de good Massa Linkum what said to all de people eve'ywha's, up in the Norf 'n' down in de Souf, dat dere shouldn't nevah no moah be any slaves anywha's. (Joyfully and enthusiastically): Golly, but I's glad he done libed.

Clementine (looking very serious): Yes, I do, Miss Em'line; this here (lays her hand on picture) is the great Master Lincoln who told everyone everywhere, up North and down South, that there shouldn’t be any more slaves anywhere. (Joyfully and enthusiastically): Wow, I'm so glad he lived.

Mrs. Mortimer (bowing head sorrowfully and speaking slowly and softly): Yes, indeed, we are all glad of that: and now you may go, Clementine.

Ms. Mortimer (bowing head sadly and speaking slowly and softly): Yes, we are all really glad about that: and now you can go, Clementine.

Clementina (comes down while Mrs. Mortimer remains looking at picture. Clementina, when near right exit, turns and runs back to Mrs. Mortimer): O, I say, « 97 » Miss' Em'line, de good Marsa Linkum done gone dead now, an' won't dey take us all back foh slaves ag'in?

Clem (comes down while Ms. Mortimer stays looking at the picture. Clem, as she reaches the right exit, turns and runs back to Mrs. Mortimer): Oh, I have to say, « 97 » Miss Emmeline, the good Mr. Lincoln has just died now, and won’t they take us all back to being slaves again?

Mrs. Mortimer (coming down): No, you poor child, don't be afraid, slavery is done with forever and forever. No one can ever undo the work of Abraham Lincoln.

Mrs. Mortimer (coming down): No, you poor thing, don’t be scared, slavery is completely in the past. No one can ever reverse what Abraham Lincoln accomplished.

Clementina: Golly! I's glad o' dat. Bress de Lawd foh Abraham Linkum. (Dances a few steps and then exits at right, running.)

Clem: Wow! I'm really glad about that. Thank God for Abraham Lincoln. (Dances a few steps and then exits to the right, running.)

Auntie Temp: She hain't got no sense Miss' Em'line, so you-all mus' jes' nachually fohgive her foh jes' fohgettin' 'bout what all dis yere wah cost you-all. (Bowing head and speaking softly and sadly.) But I knows, I knows, Miss' Em'line, an' I's powe'ful sorry foh you-all. (Exit at right, head still bowed.)

Auntie Temp: She doesn't have any sense, Miss Em'line, so you all just have to naturally forgive her for forgetting about what all this war has cost you. (Bowing head and speaking softly and sadly.) But I know, I know, Miss Em'line, and I’m really sorry for you all. (Exit at right, head still bowed.)

Mrs. Mortimer (sits in rocking-chair at right-front): Yes, the cost has been great (speaking slowly and weighing each word carefully), O, how great! and our noble leader who said he now longed only to bind up the Nation's wounds has been taken from us. How will it be now, I wonder? They tell me the war is over. Lee has surrendered—but where, O where (rises and walks up and down) are my poor husband and our boy? It has been long since I have had a letter from either. Perhaps they have both died fighting for the cause in which each believed. Poor, misguided Albert! how could he ever have gone against the flag of his forefathers? (Exit at left.)

Mrs. Mortimer (sits in rocking-chair at right-front): Yes, the cost has been tremendous (speaking slowly and weighing each word carefully), oh, how tremendous! and our brave leader who said he now only wanted to heal the nation's wounds has been taken from us. What will happen now, I wonder? They tell me the war is over. Lee has surrendered—but where, oh where (rises and walks up and down) are my poor husband and our boy? It has been a long time since I’ve received a letter from either of them. Perhaps they have both died fighting for the cause they each believed in. Poor, misguided Albert! how could he ever have gone against the flag of our ancestors? (Exit at left.)

George (enters at right): Dat air Clementina Diana's jes' too much for my institution. She dinks 'case Miss' Em'line told her she done play de fife's good as a man dat she's de bigges' pickanninny on dis yere plantation. But I'll show her she cain't come none o' her friskom-fa'i'cation ovah Gawge Washington Augustus. Dis yere niggah ain't no slave no moah, an' he's gwine show dat li'l' niggah gal what's what. (Fife behind scenes.) Dah she's at it ag'in. (Enter Clementina at right, running and waving fife in air and shouting, Hurrah!) What's « 98 » de matta, you crazy niggah gal? Ye des done gone out o' yore senses (runs to her and shakes her).

George (enters from the right): That girl Clementina Diana is just too much for me. She thinks because Miss Em'line told her she plays the fife as well as any man that she’s the biggest kid on this plantation. But I’ll show her she can’t pull any of her nonsense with George Washington Augustus. This guy isn’t a slave anymore, and he’s going to show that little girl what’s what. (Fife playing offstage.) There she goes again. (Enter Clem from the right, running and waving the fife in the air while shouting, Hurrah!) What’s going on with you, you crazy girl? You’ve completely lost your mind! (runs to her and shakes her).

Clementina: Git yore dwum, Gawge Washington 'Gustus, and come on wif me: de marsa's a-comin'!

Clem: Get your work done, George Washington 'Gustus, and come with me: the master is coming!

George: O, go 'long wif yore crazy talk, de massa's done gone de'd befoh dis yere. Ye s'pose he lib an' not sen' a perscripshun to de mist'ess befoh dis yere? No, dem mis'able reb bullets get him foh dis yere. I knows. (Pointing finger at her): Go 'long wid ye now! (Goes up stage.)

George: Oh, go on with your crazy talk, the boss has been dead before this. Do you think he’s alive and hasn’t sent a prescription to the missus before now? No, those miserable rebel bullets got him for this. I know. (Pointing finger at her): Go on now! (Goes up stage.)

Clementina: Now, doan ye be so sma't, Gawge Washington 'Gustus; he's comin' foh suah—I seed 'im.

Clementine: Now, don’t be so smart, George Washington 'Gustus; he's definitely coming—I saw him.

George (comes down quickly): Seed 'im? Ya mis'able good-foh-nuthin' lyin' niggah gal, how could ye seed 'im?

George (comes down quickly): Did you see him? You miserable good-for-nothing lying girl, how could you see him?

Clementina (slowly and solemnly): I seed a tramp comin' 'way obah de fields. I kin'a sca'd an' 'spishus. I tak Miss' Em'line's spy-glass and I looked and I seed 'twas marsa. (Dances a few steps, singing, "Marsa's come." They both run out at right. Fife and drum is heard, playing YANKEE DOODLE behind scenes.)

Clem (slowly and solemnly): I saw a stranger coming from over the fields. I was kind of scared and suspicious. I took Miss Em'line's spyglass and looked, and I saw it was the master. (Dances a few steps, singing, "The master's here." They both run out to the right. A fife and drum can be heard playing YANKEE DOODLE offstage.)

Mrs. Mortimer (with Sally, run in at left): I was sure I heard Clem's voice singing, "Marsa come," but there's no one here. O, why did she do it? (Drops into rocking-chair at left-front. Sally runs to her.) It was wicked of her to do a thing like that. And that dreadful tune! Sally Caroline, I think you'll have to go out and make them keep still. (Music grows fainter.)

Mrs. Mortimer (with Sally, runs in from the left): I was sure I heard Clem's voice singing, "Marsa come," but there's no one here. Oh, why did she do that? (Drops into the rocking chair at the left front. Sally rushes to her.) It was wrong of her to do something like that. And that awful tune! Sally Caroline, I think you'll need to go outside and make them quiet down. (Music fades out.)

Sally: Never mind, mother dear, they are going away now. They'll soon be out of hearing. I'll see what they are about. (Exits at right.)

Sally: It’s fine, mom, they’re leaving now. They’ll be out of earshot soon. I’ll check on what they’re doing. (Exits at right.)

Mrs. Mortimer: I never, never, want to hear that tune again. I shall always associate it with this bitter disappointment. O, I was so sure my poor husband had come. I wonder what made the child think of singing that? But, then, she is only a child; she cannot understand (buries her face in handkerchief and sobs).

Ms. Mortimer: I never, ever want to hear that song again. I will always link it to this harsh disappointment. Oh, I was so sure my poor husband had arrived. I wonder what made the child think to sing that? But, she is just a child; she doesn't understand (buries her face in handkerchief and sobs).

Auntie Temp (enters at left and goes to side of Mrs. Mortimer): O, now, Miss' Em'line! Doan, honey, doan do dat, pore soul. Yore ole mammy knows jes' how't feels—come, now, obah heah on de sofi, an' hab a good rest. (Puts arms about her and leads her to sofa, putting pillow under her head, etc., while talking to her.) Dere, dere, honey, doan ye feel bad any moah. We-all tak de bes' caah of ye an' make ye des's happy as we kin. Des tink, Miss' Em'line, dere's Miss Sally Car'line, de lubliest angel anybuddy eber seed; she done tak des de bes' caah of ye, so des chirk up, chirk up, Miss' Em'line. Come, now, honey, tu'n obah an' go a-sleep, yore ole mammy covah ye up.

Auntie Temp (enters from the left and goes to the side of Ms. Mortimer): Oh, now, Miss Em'line! Please, honey, don’t do that, poor thing. Your old mama knows just how it feels—come on, over here on the sofa, and have a good rest. (Wraps her arms around her and leads her to the sofa, placing a pillow under her head, etc., while talking to her.) There, there, honey, don’t you feel bad anymore. We'll take the best care of you and make you as happy as we can. Just think, Miss Em'line, there's Miss Sally Caroline, the loveliest angel anyone has ever seen; she'll take extra good care of you, so cheer up, cheer up, Miss Em'line. Now, come on, honey, turn over and go to sleep; your old mama will cover you up.

Mrs. Mortimer: And, Auntie Temp, don't ever let those children play Yankee Doodle around the house again.

Ms. Mortimer: And, Auntie Temp, please never let those kids play Yankee Doodle around the house again.

Auntie Temp: Dat I won't, honey, I'll go this minnit an' see 'bout it. (Comes down stage. Sally enters at right. They meet at right-front.)

Auntie Temp: I won't hesitate, sweetie, I'm going right now to check on it. (Comes down stage. Sally enters at right. They meet at right-front.)

Sally (in excited undertone): Auntie Temp, what do you think? (Catches her by the arm and dances and jumps around in glee.) Father is coming across the field from the west! Your children have gone to meet him. And as I was looking around, I saw another figure coming slowly from the south. I took the glass, which was lying on the porch, and it is Albert!

Sally (in an excited whisper): Auntie Temp, guess what? (She grabs her by the arm and dances around happily.) Dad is coming across the field from the west! Your kids have gone to meet him. And while I was looking around, I spotted someone else coming slowly from the south. I grabbed the binoculars that were on the porch, and it's Albert!

Auntie Temp (excitedly): Laws honey, ye doan mean it?

Auntie Temper (excitedly): Really, sweetheart, you can't be serious?

Sally: Hush! I am afraid the excitement will be too much for mother. O, what shall we do? They may come rushing in any minute. (Fife and drum heard. Mrs. Mortimer groans.)

Sally: Quiet! I'm worried the excitement will be too overwhelming for Mom. Oh, what are we going to do? They could burst in at any moment. (Sound of fife and drum. Ms. Mortimer groans.)

Auntie Temp: See to yore pore ma, Miss Sally Car'line, I got ter make dem niggahs shet up. (Exit at right. Music ceases in a moment.)

Auntie Temp: Take care of your poor mom, Miss Sally Car'line, I need to make those guys shut up. (Exit at right. Music stops shortly.)

Mrs. Mortimer (sitting up): O, good Auntie Temp!« 100 » What a comfort she is to me; she promised to make those children stop that tune and she has done it. (Sighs.)

Ms. Mortimer (sitting up): Oh, dear Auntie Temp!« 100 » What a relief she is to me; she promised to make those kids stop that tune, and she actually did it. (Sighs.)

Sally (kneeling beside her): But, mother dear, wouldn't you like to hear the fife and drum playing Yankee Doodle if it was played for joy?

Sally (kneeling beside her): But, mom, wouldn’t you want to hear the fife and drum playing Yankee Doodle if it was played to celebrate?

Mrs. Mortimer (jumping up): For joy? What can you mean, Sally Caroline?

Ms. Mortimer (jumping up): For joy? What are you talking about, Sally Caroline?

Sally (rising and throwing arms about Mrs. Mortimer): Don't get excited. It means, dearest mother, that you are to be happy again.

Sally (standing up and hugging Mrs. Mortimer): Don't get worked up. It means, dear mom, that you're going to be happy again.

Mrs. Mortimer: O, Sally Caroline, don't deceive me! Do you mean——

Ms. Mortimer: Oh, Sally Caroline, please don't mislead me! Are you saying——

Sally (interrupting): Yes, yes, it means that they (leads her slowly toward right exit) are both coming across the fields: one from the west and one from the south, and, even now, they may be in the door-yard. (Mrs. Mortimer hurries.) There, there, dear, do not overtax your strength. Remember, too, they are much changed, and you mustn't give 'way when you meet them. (Exeunt at right.)

Sally (interrupting): Yes, yes, it means that they (leads her slowly toward right exit) are both coming across the fields: one from the west and one from the south, and, even now, they might be in the yard. (Mrs. Mortimer hurries.) There, there, dear, don't push yourself too hard. Remember, they're both really different now, and you can't let that affect you when you see them. (Exeunt at right.)

Clementina (enters at right, waving fife, followed by George, carrying drum): Golly, wa'n't that fine? Seems lak I cu'd jes' dance mah feet off.

Clementine (enters from the right, waving a fife, followed by George, carrying a drum): Wow, wasn't that great? It feels like I could just dance my feet off.

George: Well, ye jes' keep still, ye good-foh-nuthin' niggah gal. Nebah seed sich a crazy gal nowahs, Dere, dey's comin' now, ye better go hide.

George: Well, you just be quiet, you worthless girl. I've never seen such a crazy girl anywhere. They're coming now, you better go hide.

(Clementina runs up and stands behind Lincoln's portrait so that only her face is visible. Mrs. Mortimer, Mr. Mortimer and Albert enter at right. Mrs. Mortimer is between the two and their arms are linked. Sally follows closely behind, and Auntie Temp, who is behind the others, goes to George and stands beside him.)

(Clem runs up and stands behind Lincoln's portrait so that only her face is visible. Ms. Mortimer, Mr. Mortimer and Albert enter from the right. Mrs. Mortimer is between the two, linked arm in arm. Sally follows closely behind, and Auntie Temp, who is behind the others, approaches George and stands next to him.)

Mrs. Mortimer: It seems too good to be true that I have both my dear ones at home again.

Mrs. Mortimer: It feels unbelievable that I have both my loved ones back home again.

Albert (breaks away from his mother and runs to Lincoln's portrait, laying his hand upon it): And, « 101 » mother, I am cured of my folly. I have seen him, and I am glad the old flag was victorious.

Albert (pulls away from his mother and rushes to Lincoln's portrait, placing his hand on it): And, « 101 » mom, I’m over my silly ideas. I’ve seen him, and I’m happy the old flag won.

All (excitedly): Have seen him?

All (excitedly): Have you seen him?

Sally: O, tell us about him!

Sally: Oh, tell us about him!

Albert (coming down): [J]It was at Richmond. I had been taken prisoner with two other young fellows. We were shut up in an old store. The President came there with some of his friends and just a few of his sailors. He passed the store and saw us staring from the window. O, the look that came over his face I can never describe, as he called out: "Break in that door and let those boys go home to their mothers." In a second we were free.

Albert (coming down): [J]It happened in Richmond. I had been captured along with two other young guys. We were locked up in an old store. The President showed up there with a few friends and just a couple of his sailors. He walked past the store and saw us peeking out the window. The expression on his face was something I can never put into words, as he shouted, "Break down that door and let those boys go home to their mothers." In no time, we were free.

[J] This incident is purely fictitious and is given only as what might have happened, being quite in keeping with Lincoln's character.

[J] This incident is completely made up and is presented merely as a possible scenario, fully in line with Lincoln's character.

Auntie Temp: De Lawd bress him!

Auntie Temp: Thank goodness!

Albert: And, mother, when I stood face to face with him I saw that not half had been told me of his goodness and his greatness. And when I heard of his death a day or two ago, as I was begging my way across the country, to get home, I wept like a child. I knew then, as others will know later, that this was the end of life for the greatest American this country ever had.

Albert: And, Mom, when I stood in front of him I realized that I hadn’t been told even half of his kindness and greatness. When I heard about his death a day or two ago, while I was trying to make my way home, I cried like a little kid. I understood then, as others will understand later, that this was the end of life for the greatest American this country has ever known.

Auntie Temp: De Lawd save us! I's mighty scar'd o' what 'comes of us pore niggahs now.

Auntie Temp: Lord save us! I'm really scared about what’s going to happen to us poor folks now.

Sally (going to Auntie Temp and putting hand on her shoulder): You have nothing to fear from this time forth, Auntie Temp. Although Abraham Lincoln is dead, his spirit will live forever in the land.

Sally (heading to Auntie Temperature and placing a hand on her shoulder): You don’t have anything to worry about from now on, Auntie Temp. Even though Abraham Lincoln is gone, his spirit will live on forever in this country.

Albert (comes to front-center): Yes, and he has taught the American Nation, in his own immortal words, "that government of the people, by the people, for the people, shall not perish from the earth."

Albert (comes to front-center): Yes, and he has taught the American Nation, in his own timeless words, "that government of the people, by the people, for the people, shall not disappear from the earth."

Curtain

Curtain


RECOMMENDED BY THE NEW YORK DEPARTMENT OF PUBLIC INSTRUCTION

RECOMMENDED BY THE NEW YORK STATE DEPARTMENT OF EDUCATION

1. Salute to the Flag

At a signal from the principal the pupils in ordered ranks, hands to the side, face the flag. At another signal every pupil gives the flag the military salute as follows: The right hand lifted, palm downward, the forefinger touching the forehead above the eye. Standing thus all repeat slowly: "I pledge allegiance to my flag and the republic for which it stands, one nation, indivisible, with liberty and justice for all." At the words "to my flag," the right hand is extended gracefully, palm upward towards the flag, and remains in this gesture till the end of the affirmation, whereupon all hands immediately drop to the side. Where a silent salute is given, the flag is borne between the standing lines or in front of a single line, and the hands remain at salute until the flag-bearer reaches the center of the room, when, at a given signal, every hand is dropped.

At the principal's signal, the students line up in an organized manner, hands at their sides, facing the flag. At the next signal, each student salutes the flag by lifting their right hand, palm down, with their forefinger touching their forehead above the eye. While in this position, everyone slowly recites: "I pledge allegiance to my flag and the republic for which it stands, one nation, indivisible, with liberty and justice for all." When saying "to my flag," the right hand is extended gracefully, palm up towards the flag, and holds that position until the end of the pledge, after which all hands return to their sides. During a silent salute, the flag is carried between the standing lines or in front of a single line, and the hands remain in salute until the flag-bearer reaches the center of the room, when, at the given signal, everyone drops their hands.

SCHOOL
2.. Song—red, white, and blue SCHOOL
3.. Lincoln Day: Its observance a privilege for
ourselves and a duty to the young people of the country
READING
4.. Speech—Selected STUDENT
5.. National Anthem STUDENT OR SCHOOL
6.. Quotes from the sayings of Abraham Lincoln and his eulogists
     rising in their places and repeating.
BY STUDENTS
7.. Lincoln's Gettysburg Address STUDENT
8.. Essay about Lincoln STUDENT
9.. Track SCHOOL
10.. Tableau or Grouping representing some historical event in the life of Lincoln GROUP
11.. Lincoln as a Role Model for the Nation's Youth READING
12.. Battle Hymn of the Republic SCHOOL
13.. Short Talks by
     and other invited guests
Visiting veterans
14.. Song—America. SCHOOL AND VISITORS


Marie Irish

Marie Irish

A PRIMARY FLAG DRILL FOR FIVE LITTLE GIRLS AND FIVE LITTLE BOYS

A PRIMARY FLAG DRILL FOR FIVE LITTLE GIRLS AND FIVE LITTLE BOYS

Costumes: Each child carries a flag of fairly good size and wears a soldier cap. The caps are made of red, white and blue tissue paper and should be provided with an elastic cord that passes under the chin to hold them in place. Children also wear on each shoulder an epaulet, made of strips of cambric, an inch wide, one white, one red and one blue, sewed up in a cluster.

Costumes: Each child holds a suitably sized flag and wears a soldier cap. The caps are made from red, white, and blue tissue paper and should have an elastic cord that goes under the chin to keep them in place. The children also wear an epaulet on each shoulder, made from strips of cambric, one inch wide, with one white, one red, and one blue, stitched together in a bundle.

Music: A patriotic march.

Music: A national anthem.

Children enter in two files, the boys coming on at the right corner of front of stage and the girls at the left corner of front. The boys march up the right side, across back and down the left side of stage, while the girls at the same time pass up the left side, across back and down the right side of stage. On reaching the corners of front the two lines pass diagonally to center of back, first boy and first girl form a couple, each two on reaching center of back do the same, and the couples march down the center of stage to the front. During the opening march the flag is held in right hand, resting against right side, but on forming couples each couple raises flags and holds them high, staffs crossed. At the front the boys turn to right, girls to left, pass to corners of front, up sides and on reaching the back they form two lines across back of stage, girls on front line with boys back of them. Mark time, then march—five abreast—down to near-front of stage, where the lines halt, and as they do so they stand far « 104 » enough apart to allow a person to pass between them. During this march the flags have been held again at right side, but now each one holds flag high. The boy nearest left of stage now leads the boys along the line of girls, going in front of the first one, back of the second, in front of the third, back of the fourth, etc. Boys return to places and halt, then girl nearest the right of stage leads the line of girls along the line of boys, going behind the first boy, in front of second, back of third, etc. The girls return to places and halt, then all hold flags with staff standing upright and resting on left shoulder. All speak:

Children enter in two lines, with the boys coming in from the right corner of the front of the stage and the girls from the left corner. The boys march up the right side, across the back, and down the left side of the stage, while the girls do the same, passing up the left side, across the back, and down the right side. When they reach the front corners, the two lines cross diagonally to the center at the back, with the first boy and first girl forming a couple. Each subsequent pair does the same as they reach the center at the back, and the couples march down the center of the stage to the front. During the opening march, the flag is held in the right hand, resting against the right side, but when forming couples, each couple raises their flags high, crossing the staffs. At the front, the boys turn to the right, the girls to the left, move to the corners of the front, go up the sides, and upon reaching the back, they form two lines across the back of the stage, with the girls in the front line and the boys behind them. They mark time, then march—five across—down near the front of the stage, where the lines stop and stand far enough apart to allow a person to pass between them. During this march, the flags have been held at the right side again, but now everyone holds their flags high. The boy nearest to the left of the stage now leads the boys along the line of girls, going in front of the first one, behind the second, in front of the third, behind the fourth, and so on. The boys return to their places and stop, then the girl nearest the right of the stage leads the line of girls along the line of boys, going behind the first boy, in front of the second, behind the third, and so on. The girls return to their places and stop, and then all hold their flags with the staff upright, resting on their left shoulders. All speak:

In times of peace dear Old Glory doth wave
O'er homes and schools in this land of the brave;

(Hold flags out in front of bodies, staffs perpendicular.)

In times of trouble it stands for the Right,
And says that Justice is greater than might;

(Raise flags and wave them above heads.)

In times of battle, its colors so bright
Lead on to Victory, though fierce be the fight.

In times of peace, dear Old Glory waves
Over homes and schools in this land of the brave;

(Hold flags out in front of bodies, staffs straight up.)

In times of trouble, it represents what's right,
And asserts that justice is stronger than might;

(Raise flags and wave them above heads.)

In times of battle, its colors so bright
Lead us to victory, even when the fight is tough.

With flags held at right sides the girls now pass up the right side of stage while boys pass up the left side. At center of back form couples, raise flags and cross staffs, march in couples down center of stage to front. At front the first couple halts, second couple goes to right of first and halts in line, third couple to left of first, fourth couple to right of second, fifth to left of third. If stage is large enough let them stand in straight line across front, otherwise they can stand in curved line. The children now speak, one at a time. Each one holds the flag in position at right side until he or she speaks.

With flags held to their right, the girls now walk up the right side of the stage while the boys walk up the left side. At the center back, they form couples, raise their flags, cross their staffs, and march in pairs down the center of the stage to the front. At the front, the first couple stops, the second couple moves to the right of the first and stops in line, the third couple goes to the left of the first, the fourth couple goes to the right of the second, and the fifth goes to the left of the third. If the stage is big enough, they can stand in a straight line across the front; otherwise, they can stand in a curved line. The children now speak, one at a time. Each one holds their flag at their right side until it's their turn to speak.

First Child (holding flag extended, arm's length at right side):

First Kid (holding the flag out at arm's length to the right):

One little flag says children must be true;

One small flag says kids need to be honest;

Second Child (holding staff of flag horizontal along left shoulder, flag hanging down lengthwise at left side; first child now holds flag in same way):

Second Kid (holding a staff with the flag horizontal along their left shoulder, the flag hanging down the side; the first child now holds the flag the same way):

Two flags say that we must be honest, too.

Two flags say that we need to be honest, too.

Third Child (holding staff of flag diagonally across chest, flag on left shoulder; first and second children hold flags the same):

Third Kid (holding the flag staff diagonally across their chest, with the flag on their left shoulder; the first and second children hold their flags the same way):

Three flags say boys and girls must upright live;

Three flags say boys and girls must live respectfully;

Fourth Child (staff of flag perpendicular and resting on left shoulder; first three hold flags the same):

Fourth Kid (flag staff held upright and resting on left shoulder; the first three hold their flags the same way):

Four flags say, "Be unselfish when you give".

Four flags say, "Be generous when you give".

Fifth Child (holding flag in left hand, extended at left side; first four hold flags the same):

Fifth Kid (holding flag in left hand, extended at left side; first four hold flags the same):

Five flags teach us, "Let Justice be your song";

Five flags teach us, "Let Justice be your anthem";

Sixth Child (holding flag same as No. 2, but on right shoulder; first five children holding flags the same):

Sixth Kid (holding the same flag as No. 2, but on the right shoulder; first five children are holding the same flags):

Six flags say we must grow up brave and strong.

Six flags say we need to grow up brave and strong.

Seventh Child (holding flag as No. 3, but on right shoulder; first six the same):

Seventh Kid (holding the flag as No. 3, but on the right shoulder; first six are the same):

Seven flags say, "Be loyal to the Right";

Seven flags say, "Stay true to what's right";

Eighth Child (holding flag as No. 4, but on right shoulder, while first seven hold flags the same):

Eighth kid (holding flag as No. 4, but on the right shoulder, while the first seven hold flags in the same way):

Eight flags say, "Love your home with all your might".

Eight flags say, "Love your home with all your heart."

Ninth Child (holding flag out in front of body, staff perpendicular; first eight hold flags the same):

Ninth Kid (holding the flag out in front of their body, with the staff straight up; the first eight hold their flags the same way):

Nine flags say, "Do not idle time away";

Nine flags say, "Don't waste time";

Tenth Child (raising flag and holding it a little to the right side of body; first nine hold flags the same):

Tenth kid (raising the flag and holding it slightly to the right side of the body; the first nine hold their flags the same way):

Ten flags say we must study hard each day,

Ten flags remind us to study hard every day,

All (in concert, waving flags above heads):

All (together, waving flags over their heads):

So we may grow up wise,
An honor to our land;
Fit subjects of Old Glory,
Our starry banner grand.

So we can grow up wise,
As a tribute to our country,
Worthy representatives of Old Glory,
Our stunning starry flag.

The center couple now marches down to center of front, couple to its right follows, couple to left of first comes next, the couple to right of second, and fifth couple last. All march, in couples, to corner of right of stage, up right side, across to center of back, down center of stage to front, across to left corner of front and off stage.

The center couple now walks down to the front center, followed by the couple to their right, then the couple to the left of the first, the couple to the right of the second, and finally the fifth couple. They all walk, in pairs, to the right corner of the stage, up the right side, across to the center back, down the center of the stage to the front, across to the left front corner, and off stage.


Marie Irish

Marie Irish

A FLAG SALUTE, MARCH AND DRILL FOR ELEVEN INTERMEDIATE GRADE CHILDREN

A FLAG SALUTE, MARCH AND DRILL FOR ELEVEN INTERMEDIATE GRADE CHILDREN

One boy carries a flag considerably larger than the other ten carry. This boy we will call the Color-bearer. This march may be given by eleven boys or by six boys and five girls.

One boy is carrying a flag that's much larger than the flags the other ten boys are holding. We’ll call this boy the Color-bearer. This march can be led by eleven boys or by six boys and five girls.

Music: A patriotic march.

Music: A patriotic anthem.

The children enter in single file at left corner of the line, then, if girls take part, a girl next, then a back of stage, Color-bearer with large flag leading boy, etc. File marches across back of stage, back again to left side, diagonally to right corner of front, back to left corner of back, down left side, across front of stage, back to left corner and up left side, thus:

The children come in one by one from the left corner of the line. If girls are participating, a girl follows next, then a boy, and so on. The file marches across the back of the stage, then back to the left side, diagonally to the right corner at the front, back to the left corner at the back, down the left side, across the front of the stage, back to the left corner, and up the left side, like this:

Then from left corner of back pass to center of back, down center of stage to front, where Color-bearer turns to right, first girl to left, next boy to right, next girl to left, etc. Pass to corners of front, up sides of stage, across to center of back, where the Color-bearer remains standing, while the next boy and first girl form a couple, each two do the same, couples march down stage till first couple is near front. Halt, couples face each other, standing about three feet apart. The Color-bearer now passes down between the two lines and halts at front of stage, facing audience. The couple nearest back of stage now marches down between lines, goes to right and halts, next couple comes down and goes to left, etc., thus:

Then from the left corner of the back, pass to the center of the back, down the center of the stage to the front, where the Color-bearer turns to the right, the first girl to the left, the next boy to the right, the next girl to the left, and so on. Pass to the corners of the front, then up the sides of the stage, across to the center of the back, where the Color-bearer stands still, while the next boy and the first girl pair up. Each pair does the same, and the couples march down the stage until the first couple is near the front. Stop, and the couples face each other, standing about three feet apart. The Color-bearer now walks down between the two lines and stops at the front of the stage, facing the audience. The couple closest to the back of the stage then marches down between the lines, goes to the right, and stops, followed by the next couple, who goes to the left, and so on:

The file stands in curved line back of Color-bearer. Music changes to STAR-SPANGLED BANNER. The children in the line stand with flags held at right side, as during the march, till the music gets to "Oh! say, does the star-spangled banner still wave," when they raise flags and wave them slowly, till close of music. The piece is played through once and then music ceases, the Color-bearer raises his flag, holding it quite high. The others take flags in left hands and hold at left sides. When the large flag is raised they all say:

The group forms a curved line behind the Color-bearer. The music switches to The Star-Spangled Banner. The children in line hold their flags at their right side, just like during the march, until the music reaches "Oh! say, does the star-spangled banner still wave," at which point they raise their flags and wave them slowly until the music ends. The piece plays through once, then stops, and the Color-bearer lifts his flag high. The others take their flags in their left hands and hold them at their left sides. When the large flag is raised, they all say:

I pledge my head, (touch head with right hand) my heart, (lay hand over heart) and my hand, (raise right hand)

I promise my head, (touch head with right hand) my heart, (place hand over heart) and my hand, (raise right hand)

To loyally serve my native land; (drop hand at side)

To faithfully serve my home country; (drop hand at side)

I pledge my power, my honor, and my might (step forward with right foot)

I offer my strength, my integrity, and my power (step forward with right foot)

To keep my country's name forever bright. (Step back in line.)

To keep my country's name shining forever. (Step back in line.)

I pledge the zeal and strength of this right hand (raise right hand)

I promise the energy and strength of this right hand (raise right hand)

To keep Old Glory floating o'er our land. (Point to flag.)

To keep Old Glory flying over our land. (Point to flag.)

The flags are now held in right hands, out in front of bodies:

The flags are now held in right hands, out in front of bodies:

A flag for the sailor, skimming the sea,

A flag for the sailor, moving through the waves,

A flag for the soldier, guarding the lea,

A flag for the soldier, guarding the fields,

A flag for the patriot, proud to be free,

A flag for the patriot, proud of their freedom,

A flag for YOU, (flags extended to audience) and a flag for ME! (At this flags are laid lovingly across chests and held with both hands.)

A flag for YOU, (flags are held out to the audience) and a flag for ME! (Here, the flags are softly laid over chests and held with both hands.)

Flags are now waved above heads and the line exclaims:

Flags are now waved overhead and the crowd shouts:

"America forever! (flags held out at right) one nation (flags out at left) one country, (step forward and hold flags high, pointing toward audience) one flag!"

"America forever! (flags held out at right) one nation (flags out at left) one country, (step forward and hold flags high, pointing toward audience) one flag!"

Step back in line and hold flags at right sides while the chorus of COLUMBIA, THE GEM OF THE OCEAN, is played softly. At the conclusion of that the music changes to a march. The Color-bearer leads and the others fall in line back of him in the same order as on entering the stage at beginning, passing in single file to right corner of front, up right side, across back, half way down left side, then across stage. The last four children halt in line, the others pass up right side, across to center of back and down center of stage. The Color-bearer halts in center, the others take places and stand thus:

Step back in line and hold flags to the right while the chorus of COLUMBIA, THE JEWEL OF THE OCEAN plays softly. When that finishes, the music shifts to a march. The Color-bearer leads, and the others fall in line behind him in the same order as when they entered the stage at the beginning, passing in single file to the right corner at the front, up the right side, across the back, halfway down the left side, and then across the stage. The last four kids stop in line, while the others continue up the right side, across to the center at the back, and down the center of the stage. The Color-bearer stops in the center, and the others take their places and stand like this:

Nos. 8 and 9 face back of stage; 5, 6 and 7 face left; 10 and 11 face front; 2, 3 and 4 face right; then lines march once around, No. 1 (Color-bearer) standing as the pivot on which others turn. Keep lines perfectly straight while marching, those on outside going faster to preserve perfect movement. After rotating once, halt. Color-bearer raises flag high, others raise flags and repeat:

Nos. 8 and 9 face the back of the stage; 5, 6, and 7 face left; 10 and 11 face forward; 2, 3, and 4 face right; then the lines march once around, with No. 1 (Color-bearer) standing as the pivot on which the others turn. Keep the lines perfectly straight while marching, with those on the outside moving faster to maintain perfect movement. After rotating once, come to a halt. The Color-bearer raises the flag high, and the others raise their flags and repeat:

I pledge allegiance to my flag—the best in any land,
And to the Republic for which this flag doth stand;
One nation, indivisible, the pride of great and small,
One flag, emblem of Liberty and Justice for us all.

I pledge allegiance to my flag—the best in any country,
And to the Republic for which this flag stands;
One nation, indivisible, the pride of everyone,
One flag, a symbol of Liberty and Justice for all of us.

Color-bearer then marches to front of line, in front of No. 2, leads to right of stage, all following in order, up to back, across to center of back, down to center, where lines form thus:

Color-bearer then walks to the front of the line, in front of No. 2, leads to the right side of the stage, with everyone following in order, up to the back, across to the center of the back, down to the center, where the lines form like this:

Lines march around, describing circle, those on outside a large one and others smaller, then Color-bearer takes position at back of stage, the others form two lines of five each, across stage. Color-bearer gives following orders, in sharp, quick tones:

Lines move around, forming a circle, with some on the outside being larger and others smaller. Then the Color-bearer takes position at the back of the stage, while the others form two lines of five across the stage. The Color-bearer gives the following orders in a sharp, quick tone:

Order, flag! Rest flag on floor at right side, holding with right hand.

Order, flag! Place the flag on the floor to the right, holding it with your right hand.

Carry, flag! Raise flag and hold in right hand, staff nearly vertical, top resting against right shoulder, arm straight at side.

Carry the flag! Raise the flag and hold it in your right hand, with the staff almost vertical, resting against your right shoulder, and your arm straight at your side.

Present, flag! Move flag to center of body, top in front of face, grasp staff with left hand, also.

Present, flag! Move the flag to the center of your body, with the top in front of your face, and hold the staff with your left hand as well.

Left shoulder, flag! Flag placed on left shoulder.

Left shoulder, flag! Flag on left shoulder.

Right shoulder, flag! Flag placed on right shoulder.

Right shoulder, flag! Flag positioned on right shoulder.

Carry, flag! As before.

Carry on, flag! As usual.

Port, flag! Grasp staff a little below center, hold diagonally across chest, upper end resting on left shoulder.

Port, flag! Hold the staff a bit below the center, angled across your chest, with the top end resting on your left shoulder.

Carry, flag! As before.

Carry on, flag! As usual.

Parade, rest! Right foot six inches to rear, left knee slightly bent, rest flag staff on floor in front of center of body and grasp it at top with both hands.

Parade, halt! Step back six inches with your right foot, bend your left knee slightly, place the flagstaff on the floor in front of the center of your body, and hold it at the top with both hands.

Carry, flag! As before.

Carry on, flag! As usual.

Surrender, flag! Lay flag on floor in front of body.

Surrender, flag! Place the flag on the ground in front of you.

Recover, flag! Bend forward, pick up flag, hold it in front of body, staff horizontal.

Recover, flag! Lean forward, pick up the flag, hold it in front of your body, staff horizontal.

Carry, flag! As before.

Carry on, flag! Like before.

Fix, flag! Kneel on right knee and stand staff of flag upon left knee, staff vertical.

Fix, flag! Kneel on your right knee and place the staff of the flag on your left knee, keeping the staff vertical.

Triumph, flag! Stand, wave flag high above head.

Triumph, flag! Stand, wave the flag high above your head.

Color-bearer now marches down center of stage to front, members fall in line back of him in same order as on entering at beginning. At right corner of front second boy steps up by first girl, third boy by second girl, etc. Form couples, Color-bearer marching alone at head. Pass up right side, across to center of back, down center of stage, across to left corner front, up left side and off stage.

Color-bearer now walks down the center of the stage to the front, with members lining up behind him in the same order as they entered at the beginning. At the right corner of the front, the second boy steps up next to the first girl, the third boy stands next to the second girl, and so on. They form couples, with the Color-bearer marching alone at the front. They move up the right side, across to the center at the back, down the center of the stage, across to the left corner at the front, up the left side, and off the stage.


Marie Irish

Marie Irish

MARCH, SONG AND DRILL FOR TWELVE GIRLS OF THE INTERMEDIATE OR GRAMMAR GRADES

MARCH, SONG AND DRILL FOR TWELVE GIRLS IN THE INTERMEDIATE OR GRAMMAR GRADES

Costumes: Four girls wear red dresses, four wear white and four blue. Each girl wears two streamers, about nine inches wide « 111 » and a yard to a yard and a quarter long, depending on the size of the girl, pinned on left of chest, thus:

Costumes: Four girls are wearing red dresses, four are in white, and four are in blue. Each girl has two streamers, about nine inches wide « 111 » and one to one and a quarter yards long, depending on the girl's size, pinned on the left side of her chest, like this:

The girls in white wear one red and one blue streamer, those in red wear a blue and a white streamer, while those in blue wear a red and a white one. A bow in the hair, of the same colors as the streamers, is also pretty.

The girls in white wear one red ribbon and one blue ribbon, those in red wear a blue ribbon and a white ribbon, and those in blue wear a red ribbon and a white one. A bow in the hair that matches the colors of the ribbons looks great too.

March and Song

March & Melody

Music: A march.

Music: A parade.

GIRLS enter at back of stage, in single file, reds first, then those in white and lastly the blues, one streamer held in each hand, arms hanging at full length at sides. March once around stage in a circle, then on reaching center of back come down center of stage to front, where first girl goes to right, second to left, etc., pass to corners of front, up sides, across to center of back, form couples and march down center of stage in couples.

GIRLS enter from the back of the stage in a straight line, with the ones in red first, followed by those in white, and finally the ones in blue, each holding a streamer in both hands, arms hanging straight down at their sides. They march once around the stage in a circle, and when they reach the center at the back, they come down the center of the stage to the front, where the first girl goes to the right, the second to the left, and so on, passing to the corners at the front, moving up the sides, across to the center at the back, forming couples, and then marching down the center of the stage in pairs.

At front first couple turns to right, second to left, third « 112 » to right, etc., go to corners of front, up sides, across to back, form fours and march down center to front. As they reach the front in lines of four each, the three girls nearest the right of stage—a red, a white and a blue—pass to the right. As the girl in blue comes to front before turning, the next three—a red, a white and a blue—follow her. At the same time the three nearest the left of stage pass to left corner and the next three follow them. This makes two files of Red, White and Blue, one from either side, which pass to corners of front, up sides, then those passing up left side on reaching corner of back march in a diagonal line to right corner of front, while the others pass from right corner of back to left corner of front. As the lines cross at center of stage first girl from right goes in front of first girl from the left, then second girl from right in front of second girl from left, and so on. Each line crosses front of stage to opposite corner, those from the right corner keeping to the right of the other line as the files pass. March up sides of stage, then across to center of back, where the first three on the line that marched up right side form the first row, the first three on the line from the left side form the second row, second three from the right form the third row and the others the fourth row, and they march down center of stage three abreast, in the following order : B, W, R, leading; R, W, B; B, W, R; R, W, B. On reaching front of stage the three of first row pass toward left corner, second row passes toward right corner, next three follow the first row toward left and last row follows second row to right. They stand in curved line at front, thus:

At the start, the first couple turns to the right, the second to the left, and the third to the right, etc. They go to the corners at the front, up the sides, across to the back, form groups of four, and march down the center to the front. As they reach the front in lines of four each, the three girls closest to the right of the stage—a red, a white, and a blue—pass to the right. As the girl in blue comes to the front before turning, the next three—a red, a white, and a blue—follow her. At the same time, the three closest to the left of the stage pass to the left corner, and the next three follow them. This creates two lines of Red, White, and Blue, one from each side, that pass to the corners at the front, up the sides. The ones moving up the left side, upon reaching the corner at the back, march in a diagonal line to the right corner at the front, while the others pass from the right corner at the back to the left corner at the front. As the lines cross at the center of the stage, the first girl from the right goes in front of the first girl from the left, then the second girl from the right goes in front of the second girl from the left, and so on. Each line crosses the front of the stage to the opposite corner, with those from the right corner staying to the right of the other line as they pass. They march up the sides of the stage, then across to the center of the back, where the first three from the line that marched up the right side form the first row, the first three from the left side form the second row, the second three from the right form the third row, and the others form the fourth row. They march down the center of the stage three abreast, in this order: B, W, R, leading; R, W, B; B, W, R; R, W, B. When they reach the front of the stage, the three from the first row move toward the left corner, the second row heads toward the right corner, the next three follow the first row to the left, and the last row follows the second row to the right. They stand in a curved line at the front, like this:

R W B R W B B W R B W R

Music now charges to COLUMBIA, THE GEM OF THE OCEAN and the girls sing the following verses. On opening line of each stanza girls bow low, and during « 113 » chorus they all join hands, extending them to the front and swinging streamers from side to side.

Music now plays "Columbia, the Gem of the Ocean," and the girls sing the following verses. On the opening line of each stanza, the girls bow low, and during the chorus, they all join hands, extending them to the front and swinging streamers from side to side.

Oh, we are the Civil War Daughters,
With hearts that are loving and true;
From Maine to Pacific's blue waters,
We honor the soldiers in blue.
We sing of their danger and suff'ring,
We sing of their courage and might,
When to save their flag from destruction,
These boys stood so firm for the right.

Oh, we are the Daughters of the Civil War,
With hearts that are loving and sincere;
From Maine to the blue waters of the Pacific,
We pay tribute to the soldiers in blue.
We sing of their danger and suffering,
We celebrate their bravery and resilience,
When to save their flag from destruction,
These boys stood strong for what was right.

Chorus:    Three cheers for the soldier in blue,
Three cheers for his loyalty true;
Let us honor his name with ovation,
And give to the soldier his due.

Oh, we are the Civil War Daughters,
We sing of the March to the Sea;
And we sing of Vicksburg's close quarters,
Of Shiloh where blood flowed so free.
Though years have gone by since that conflict,
And the soldiers are passing away,
We hold them in loving remembrance:
True Blue—once partly loyal Gray.

Chorus: Three cheers for the soldier in blue,
Three cheers for his steadfast loyalty;
Let's honor his name with applause,
And give the soldier what he deserves.

Oh, we are the Daughters of the Civil War,
We sing about the March to the Sea;
And we sing of the fierce battles at Vicksburg,
Of Shiloh where blood was spilled so easily.
Though years have passed since that war,
And the soldiers are disappearing,
We keep them in our loving memories:
True Blue—once partially loyal Gray.

Chorus:    Three cheers for the soldier, etc.

Chorus: Three cheers for the soldier, etc.

March music is resumed, those nearest left of stage face left, the other six face the right of stage, lines march to right and left corners of front, up sides of stage, from corners of back in diagonal lines to center of front, where lines cross, first girl from the right going ahead of first girl from the left, second from the right goes ahead of second from left, etc. Pass to corners of front, up sides, stop in lines six abreast along sides of stage, those on left facing right of stage and vice versa. Mark time, then march six abreast to center, halt, couples facing each other.

March music starts again, those nearest to the left of the stage turn left, and the other six turn to the right of the stage. The lines march to the front corners, up the sides of the stage, and from the back corners in diagonal lines to the center of the front, where the lines intersect. The first girl from the right moves ahead of the first girl from the left, the second from the right goes ahead of the second from the left, and so on. They pass to the front corners, up the sides, and then stop in lines of six across along the sides of the stage, with those on the left facing the right side of the stage and vice versa. They mark time, then march six across to the center and halt, with couples facing each other.

Raise hands holding streamers high, fingers of each couple touching. Stand thus for several measures of music, then those of the right-hand line march to front, the other line standing until the last one of the right line reaches front of stage, when the first one of the left-hand line leads that line to front and they follow the first six, making a single file which passes to right corner of stage, up to center of right, whence the line marches thus:

Raise your hands with streamers up high, with each couple's fingers touching. Stand like this for several measures of music. Then, the couples on the right side march to the front while the other line stands still until the last person from the right reaches the front of the stage. When that happens, the first person from the left side leads their line to the front, following the first six, and they form a single file that moves to the right corner of the stage, up to the center on the right, from where the line marches like this:

Where they cross at center of stage No. 1 goes in front of No. 7, No. 2 in front of No. 8, etc. On returning to center of right side the file passes up to right corner of back, then across back of stage, forming in two lines of six each at center-back, march six abreast down to near-front and halt in lines for the drill.

Where they cross at the center of stage No. 1 goes in front of No. 7, No. 2 in front of No. 8, and so on. When returning to the center on the right side, the formation moves up to the right corner in the back, then across the back of the stage, forming two lines of six each at the center-back. They then march six abreast down to near the front and come to a halt in lines for the drill.

Drill and Song

Drill and Song

Grasp streamers where hands touch them when arms hang full length, raise hands holding streamers and place on center of breast.

Grasp the streamers where your hands meet them when your arms are fully extended, lift your hands with the streamers and position them at the center of your chest.

A. Right hand out at side, arm's length, and back, four times.

A. Right arm extended out to the side, at arm's length, and then back, four times.

B. Left hand out at side, and back, four times.

B. Left hand out to the side and then back, four times.

C. Both hands at sides, and back, four times.

C. Both hands at your sides and back, four times.

D. Right hand upward and outward, arm's length, and back, four times.

D. Raise your right hand up and out to arm's length, then back, four times.

E. Left hand, same movement, and back, four times.

E. Left hand, repeat the same movement, and back, four times.

F. Both hands up, forming V, and back, four times.

F. Both hands up, making a V, and then back, four times.

G. Right hand down at side, arm's length, and back, four times.

G. Right hand down at your side, arm's length, and back, four times.

H. Left hand down at side, and back, four times.

H. Left hand down at your side, and back, four times.

I. Both hands down at sides, and back, four times.

I. Both hands down at your sides and back, four times.

J. Right hand straight out in front of body, and back, four times.

J. Right hand extended straight out in front of the body and then back, four times.

K. Left hand in front of body, and back, four times.

K. Left hand in front of the body and back, four times.

L. Both hands in front of body, and back, four times.

L. Both hands in front of your body and then behind, four times.

M. Both hands on hips, down at sides and back to hips, four times.

M. Both hands on hips, down at sides and back to hips, four times.

N. Raise right hand above right shoulder and hold left hand down and out from side till streamers are stretched tight, then lower the right hand and raise the left, reversing position of streamers, four times.

N. Raise your right hand above your right shoulder and hold your left hand down and out to the side until the streamers are stretched tight, then lower your right hand and raise your left, switching the position of the streamers, four times.

O. With hands at center of breast raise right hand straight up from shoulder and left down, arm's length at side, and back, four times, then left hand up above shoulder and right hand down, and back, four times.

O. With hands at the center of your chest, raise your right hand straight up from your shoulder and your left hand down, at arm's length by your side, and then back, four times. Then, raise your left hand above your shoulder and lower your right hand down, and back, four times.

P. Hands meet above head, arms curved, ends of streamers hanging back of head, and back, four times.

P. Hands meet above the head, arms curved, with the ends of streamers hanging down the back of the head and back, four times.

Q. All kneel on left knee, raise both hands up, arm's length, girls on first line touching hands together, back line the same, hold position for several measures, then rise and sing, to tune of YANKEE DOODLE:

Q. Everyone kneels on their left knee, raises both hands up at arm's length, girls in the front line touch hands together, and the back line does the same. Hold that position for several measures, then rise and sing to the tune of Yankee Doodle:

We are the Civil War Daughters,
We're brave as all creation;
And though we've never been to war,
We stand up for our nation.

We are the Daughters of the Civil War,
We're as daring as possible;
And even though we've never fought,
We stand up for our country.

While singing the chorus those of each line join hands, holding them just a little higher than shoulders, then step out with right foot and bring it back to place, once for each measure of music.

While singing the chorus, everyone links hands, holding them just a bit higher than their shoulders, then steps out with their right foot and brings it back to the starting position, once for every measure of music.

Chorus:    Honor to the soldier's name!
Sing the wond'rous story
Of the splendid fight he made
When led on by Old Glory.
Our grandsires fought in that great war,
Fathers, and uncles, too, sir,
And that's the very reason why
We love Red, White and Blue, sir.

Chorus: Honor to the soldier's name, etc.

Chorus: Praise to the soldier's name!
Sing the incredible story
Of the incredible fight he fought
When led by the flag.
Our ancestors fought in that great war,
Dads and uncles, too, sir,
And that's exactly why
We love the Red, White, and Blue, sir.

Chorus: Praise to the soldier's name, etc.

At close of song the march music is resumed, those on front line pass to right corner, others follow, all pass up right side of stage, in single file. From right corner of back the leader takes file around stage in a large circle, then a smaller circle, etc., until smallest circle possible for girls to march around is reached, thus:

At the end of the song, the marching music starts again. Those in the front line move to the right corner, followed by the others, all walking in a single line up the right side of the stage. From the right corner at the back, the leader guides the line around the stage in a large circle, then a smaller one, and so on, until they reach the smallest circle that the girls can march around, like this:

When all are in a circle at center of stage, they raise hands on inside of circle and point upward towards center, hands touching, holding streamers. March once around this way, then all turn and march in opposite direction, once around in circle, raising the outside hands, and holding streamers high. Then all turn and march in opposite direction once around circle, this time raising both hands up until fingers meet above head, lowering to side, raising again, etc. Then those in red march to left corner of front of stage, those in blue to right corner of front, while those in white come down center to front. Those in red pass across front to right corner as those in blue pass to left corner. Those in white wait at front of stage and as the reds and blues cross front two girls in white follow the reds, the other two follow the blues, the two lines pass up sides of stage and off at back.

When everyone is in a circle at the center of the stage, they raise their hands inside the circle and point them upward toward the center, their hands touching and holding streamers. They march once around this way, then all turn and march in the opposite direction, going around the circle again while raising their outside hands and holding the streamers high. Then everyone turns and marches in the opposite direction once more around the circle, this time raising both hands up until their fingers meet above their heads, lowering them to their sides, then raising them again, etc. Then those in red march to the left corner at the front of the stage, those in blue to the right corner at the front, while those in white come down the center to the front. Those in red cross in front to the right corner while those in blue go to the left corner. Those in white wait at the front of the stage, and as the reds and blues cross in front, two girls in white follow the reds, and the other two follow the blues. The two lines pass up the sides of the stage and exit at the back.


Marie Irish

Marie Irish

A DRILL AND MEDLEY FOR FROM TWENTY TO FORTY CHILDREN OF VARIOUS GRADES

A DRILL AND MEDLEY FOR TWENTY TO FORTY KIDS OF DIFFERENT GRADES

Characters and Costumes: The part of Goddess of Liberty should be taken by a young lady with strong voice who recites well. She should dress in white, hair flowing, gilt crown, drapery of red-white-and-blue, and carry a flag. If desired this part may be taken by a boy dressed in patriotic costume to represent Uncle Sam. Or a good effect is obtained by having both take part, Liberty and Uncle Sam taking turns in reciting. If possible to obtain so many, have twelve little girls take part in the Call of the Flag march. These girls should be dressed in white with patriotic sashes or red-white-and-blue streamers on left shoulder, and all carry flags. The Response of the Soldier march is given by twelve boys of various sizes, wearing dark suits, one of whom carries a drum and the others carry guns. If desired some of the same boys may take part in this who take part in the Blue and Gray drill. The latter drill is given by at least sixteen boys, grammar grade, eight of whom dress in blue and eight in gray. One of the boys in blue carries a U. S. flag, and one of those in gray carries a Confederate flag; the rest carry guns.

Characters and Costumes: The part of the Goddess of Liberty should be played by a young woman with a strong voice who can speak clearly. She should wear a white dress, have flowing hair, a golden crown, drapery in red, white, and blue, and hold a flag. Alternatively, this role can be played by a boy in a patriotic outfit representing Uncle Sam. It's also effective to have both characters involved, with Liberty and Uncle Sam taking turns reciting. If possible, have twelve little girls join in the Call of the Flag march. These girls should wear white dresses with patriotic sashes or red, white, and blue streamers on their left shoulders, and all should carry flags. The Response of the Soldier march features twelve boys of various sizes, dressed in dark suits, with one carrying a drum and the others holding guns. Some of these boys can also take part in the Blue and Gray drill. This drill requires at least sixteen boys from the grammar grade, eight dressed in blue and eight in gray. One boy in blue carries a U.S. flag, while one in gray carries a Confederate flag; the remaining boys carry guns.

TO THE strains of YANKEE DOODLE the Goddess of Liberty comes onto stage, marches down left side, from left corner front in a diagonal line to center of back, down to right corner front, up right side, across to center of back and halts. Music ceases and the little "flag girls" march in, half from each side of stage, half way between Liberty and front of stage. The files pass across stage and off at opposite sides, turn and march on again, meet at center of stage, form couples, first couple turns and passes off at right side, second couple at left side, etc., thus:

TO THE music of Yankee Doodle, the Goddess of Liberty enters the stage, moving down the left side, coming from the front left corner diagonally to the center back, then down to the front right corner, up the right side, across to the center back, and comes to a stop. The music stops, and the little "flag girls" march in, half from each side of the stage, positioning themselves halfway between Liberty and the front of the stage. The lines pass across the stage and exit at opposite sides, turn, and march back on, meeting at center stage to form couples. The first couple turns and exits at the right side, the second couple at the left side, and so on:

The flag is carried in right hand, arm hanging at side, flag resting against right shoulder. While this march is being given as silently as possible, Liberty recites in strong, clear voice and a great deal of feeling the following medley:

The flag is held in the right hand, arm resting at the side, flag leaning against the right shoulder. As this march is being performed as quietly as possible, Liberty recites in a strong, clear voice and with a lot of emotion the following medley:

THE CALL OF THE FLAG

THE CALL OF THE FLAG

"Speed our Republic, O Father on high!
Lead us in pathways of justice and right;
Hail! three times hail to our country and flag!
Girdle with virtue the armor of might."

"No refuge could save the hireling and slave,
From the terror of flight or the gloom of the grave:
And the star-spangled banner in triumph doth wave
O'er the land of the free, and the home of the brave."

"'A song for our banner?' The watchword recall
Which gave the Republic her station:
'United we stand—divided we fall';
It made and preserves us a nation."

"Up with our banner bright,
Sprinkled with starry light,
Spread its fair emblems from mountain to shore,
While through the sounding sky
Loud rings the Nation's cry—
UNION AND LIBERTY! ONE EVERMORE!"

"Speed our Republic, O Father on high!
Lead us along paths of fairness and goodness;
Hail! three times hail to our country and flag!
"Surround us with goodness, the shield of strength."

"No refuge could save the hired hand and slave,
From the fear of flying or the darkness of the grave:
And the star-spangled banner proudly waves
"Across the land of freedom and the home of the courageous."

"'A song for our banner?' Remember the motto
That established the Republic’s position:
'United we stand—divided we fall';
"It created and maintains our nation."

"Raise our bright flag,"
Decorated with starry light,
Spread its beautiful symbols from mountain to shore,
While through the echoing sky
The nation's call echoes—
UNION AND LIBERTY! FOREVER ONE!"

The girls' march should be arranged to close about the time Liberty finishes speaking. One verse and chorus of MARCHING THROUGH GEORGIA is then played and as music ceases the small boys come on and march in the « 119 » same way as the girls did, the drummer boy beating time softly, occasionally. While the boys march Liberty speaks:

The girls' march should be timed to wrap up right when Liberty finishes speaking. One verse and chorus of Marching Through Georgia will then be played, and as the music stops, the little boys will come on and march just like the girls did, the drummer boy keeping a soft beat occasionally. While the boys march, Liberty speaks:

THE RESPONSE OF THE SOLDIER

THE SOLDIER'S RESPONSE

"War! war! war! Heaven aid the right!
God move the hero's arm in the fearful fight!
God send the women sleep in the long, long night."

"Never or now! cries the blood of a nation,
Poured on the turf where the red rose should bloom.
Now is the day and the hour of salvation;
Never or now! peals the trumpet of doom!"

"Lay down the axe, fling by the spade,
Leave in its track the toiling plough;
The rifle and the bayonet-blade
For arms like yours are fitter now:

"And let the hands that ply the pen
Quit the light task and learn to wield
The horseman's crooked brand, and rein
The charger on the battle-field."

"And how can a man die better
Than facing fearful odds
For the ashes of his fathers
And the temple of his gods?"

"Conflict! War! war! Heaven help the righteous!
God, guide the hero's arm in this terrifying battle!
God, grant the women rest through the long, long night."

"Never or now! cries the blood of a nation,
Spilled on the ground where the red rose should grow.
Now is the time for salvation;
"Never or now! sounds the trumpet of doom!"

"Put down the axe, toss aside the spade,
Leave the working plow behind;
The rifle and the bayonet-blade
Are better suited for your hands now:

"And let those who write
Put aside their easy tasks and learn to wield
The horseman's curved sword and control
The horse on the battlefield.

"And how can a man die better
Than facing tough odds
For the ashes of his ancestors
"And what about the temple of his gods?"

As Liberty concludes the lines and the boys march off, one verse and chorus of COLUMBIA, THE GEM OF THE OCEAN, is played, then music changed to a patriotic march and the boys in Blue and Gray march on in two companies. Grays come on at front corner of right and Blues at front corner of left, march up sides of stage, across to near-center of back, down to front of stage, « 120 » to corners, up sides and at corners of back second boy in each line steps up by first, fourth by third, etc., and form double files. March to near-center of stage, down center to front, up sides, and at corners of back each company forms fours, march half way down stage and halt in lines of four each, thus:

As Liberty wraps up the lines and the boys head out, one verse and chorus of COLUMBIA, THE GEM OF THE OCEAN is played, then the music changes to a patriotic march, and the boys in Blue and Gray walk on in two groups. The Grays enter from the front corner on the right, and the Blues from the front corner on the left, marching up the sides of the stage, across to near-center at the back, down to the front of the stage, « 120 » to the corners, up the sides, and at the corners in the back, the second boy in each line steps up by the first, the fourth by the third, and so on, forming double lines. They march to near-center of the stage, down the center to the front, up the sides, and at the corners in the back, each company forms groups of four, marches halfway down the stage, and comes to a halt in lines of four like this:

Liberty

Freedom

G G G G         B B B B
G G G G         B B B B

G G G G         B B B B
G G G G         B B B B

Music stops and Liberty recites:

Music stops and Liberty speaks:

THE CONTEST

THE COMPETITION

 1. "And there was mounting in hot haste; the steed,
 2. The mustering squadron, and the clattering car,
 3. Went pouring forward with impetuous speed,
 4. And swiftly forming in the ranks of war."
 5. "By torch and trumpet fast arrayed,
 6. Each horseman drew his battle-blade,
 7. And furious every charger neighed,
 8. To join the dreadful revelry.
 9. Then shook the hills with thunder riven,
10. Then rushed the steed to battle driven,
11. And louder than the bolts of heaven
12. Far flashed the red artillery."
13. "Hark! Hark ! there go the well-known crashing volleys, the long-continued roar
14. That swells and falls but never ceases wholly, until the fight is o'er.
15. Up toward the crystal gates of heaven ascending, the mortal tempests beat,
16. As if they sought to try their cause together, before God's very feet."
17. "Like the leaves of the forest when summer is green,
« 121 » That host with their banners at sunset were seen;
Like the leaves of the forest when autumn hath blown,
That host on the morrow lay wither'd and strown."

The above lines are recited rather rapidly until number 17 is reached, the last four being given slowly and sadly. When marching in the boys hold guns in right hand, arm full length at side, gun resting against right shoulder. While Liberty recites the boys go through following movements, corresponding to the numbers of the lines of the medley: 1. Salute, by raising left hand until the forefinger touches forehead above left eye, thumb and fingers extended, palm to right. Drop arm at side. 2. Lines of Grays face left of stage, and Blues face the right. 3 and 4. All mark time as if marching rapidly. 5. Rest butt of gun on floor, arms hanging naturally at sides, right hand holding the barrel between thumb and fingers. 6. Raise gun and move to position in front of body, barrel in front of face, hold with both hands, left above the right. 7. Hold gun diagonally across chest, barrel resting on left shoulder and butt against right thigh. 8. Blues take steady aim at Grays, and vice versa. 9. Arrange for some noise at side of stage to represent firing. 10 and 11. Blues kneel and aim at Grays, and vice versa. 12. More "booming" behind scenes. 13. Rise and each company retreats backward a step, holding guns at right sides. 14. Come forward toward center, quickly, and aim. 15. Rest guns. 16. Bring guns to position and mark time as if marching rapidly. 17. Each company faces front of stage, stack guns in lots of four each and then sit on floor in lines of four, facing front of stage. Music is resumed and JOHN BROWN'S BODY is played through once, then Liberty steps forward to front of stage and recites:

The lines above are recited pretty quickly until reaching number 17, with the last four being delivered slowly and sadly. While marching, the boys hold their guns in their right hands, arms fully extended at their sides, with the gun resting against their right shoulders. As Liberty recites, the boys perform the following movements, corresponding to the numbers in the medley: 1. Salute by raising the left hand until the forefinger touches the forehead above the left eye, with the thumb and fingers extended, palm facing right. Drop the arm to the side. 2. The Grays face the left of the stage, and the Blues face the right. 3 and 4. Everyone marks time as if marching quickly. 5. Rest the butt of the gun on the floor, arms hanging naturally at the sides, with the right hand holding the barrel between thumb and fingers. 6. Raise the gun and move it in front of the body, with the barrel in front of the face, holding it with both hands, left hand above the right. 7. Hold the gun diagonally across the chest, with the barrel resting on the left shoulder and the butt against the right thigh. 8. The Blues take steady aim at the Grays, and vice versa. 9. Create some noise offstage to simulate firing. 10 and 11. The Blues kneel and aim at the Grays, and vice versa. 12. More "booming" noises from behind the scenes. 13. Stand up, and each company takes a step back, holding their guns at their right sides. 14. Move forward quickly towards the center and aim. 15. Rest the guns. 16. Bring the guns to position and mark time as if marching quickly. 17. Each company faces the front of the stage, stacks guns in groups of four, then sits on the floor in lines of four, facing the front of the stage. The music resumes and JOHN BROWN'S BODY is played through once, then Liberty steps forward to the front of the stage and recites:

"The sun had sunk into the distant west;
The cannon ceased to roar, which tell of rest—
Rest from the shedding of a nation's blood,
« 122 » Rest to lay their comrades 'neath the sod.

"'Twas early spring, and calm and still the night;
The moon had risen casting silvery light;
On either side of stream the armies lay
Waiting for morn to renew the fray.

"The Rappahannock silently flowed on,
Between the hills so fair to look upon;
Whose dancing waters tingled with silvery light,
Vied in their beauty with the starry night.

"But list! from northern hills there steal along
The softest strains of music and of song——"

"The sun had set in the far west;
The cannons had stopped booming, signaling rest—
Rest from the loss of countless lives,
« 122 » Rest to lay their brothers beneath the earth.

"It was early spring, and the night was calm and still;
The moon had risen, casting silvery light;
On either side of the stream, the armies lay
Waiting for dawn to start the battle again.

"The Rappahannock flowed quietly on,
Between the beautiful hills;
Whose sparkling waters glimmered with silvery light,
Competing in their beauty with the starry night.

"But listen! from the northern hills comes
The softest sounds of music and song——"

A good effect is obtained by turning off lights during the music of JOHN BROWN'S BODY so stage is dim during the speaking and the singing. As Liberty pauses the Boys in Blue sing a stanza of THE STAR-SPANGLED BANNER. When they finish, the Boys in Gray sing a stanza of DIXIE LAND. It is a good plan to have a chorus of voices behind the scenes help with the singing of both songs, to give more force to them. As last song is finished lights are turned on, Liberty resumes her place at back of stage, boys rise, leave guns, Boy in Gray leaves his Confederate flag, all march to near-front of stage and form across in two lines of eight each, thus:

A great effect is achieved by turning off the lights during the music of JOHN BROWN'S BODY, so the stage is dim while speaking and singing take place. As Liberty pauses, the Boys in Blue sing a verse of THE NATIONAL ANTHEM. When they finish, the Boys in Gray sing a verse of Dixieland. It’s a good idea to have a chorus of voices offstage help with the singing of both songs to make them more impactful. As the last song ends, the lights come back on, Liberty returns to her position at the back of the stage, the boys stand up, leave their guns, the Boy in Gray leaves his Confederate flag, and they all march near the front of the stage to form two lines of eight, like this:

G B G B G B G B
B G B G B G B G

G B G B G B G B
B G B G B G B G

The little girls in white who carried flags now march in and stand in a row back of the boys, Liberty stands just back of the line of girls.

The little girls in white holding flags now march in and stand in a line behind the boys, with Liberty standing just behind the line of girls.

Liberty recites:

Liberty says:

"The fiercest agonies have the shortest reign,
And after dreams of horror comes again
The welcome morning with its rays of peace."

"The harshest pains last the shortest time,
And after nightmares, the comforting morning
Returns with its rays of peace."

The little girls recite in concert:

The young girls recite together:

"Peace! and no longer from its brazen portals
The blast of War's great organ shakes the skies!
But beautiful as songs of the immortals
The holy melodies of love arise."

"Peace! And no longer from its loud gates
The sound of War's huge organ rattles the heavens!
But beautiful like the songs of the gods
"The sacred melodies of love arise."

All the boys recite together:

All the guys recite together:

"The union of lakes, the union of lands,
The union of States none can sever;
The union of hearts, the union of hands,
And the flag of our Union forever."

"The coming together of lakes, the coming together of lands,
The unity of states that can't be broken by anyone;
The joining of hearts, the joining of hands,
"And the flag of our Union will endure forever."

Liberty waves her flag, the girls with flags wave them above the heads of the Boys in Blue and Gray, each boy in blue joins right hand with a boy in gray, and everyone sings the first stanza of MY COUNTRY, 'TIS OF THEE. Colored light may be thrown upon the scene for a tableau and then the curtain dropped, or Liberty may come to front of stage, lead the boys (who follow in single file), and then the little girls last, once around the stage and then off.

Liberty waves her flag, and the girls with flags wave them above the heads of the Boys in Blue and Gray. Each boy in blue links arms with a boy in gray, and everyone sings the first stanza of My country, this is for you. Colored lights might be used to enhance the scene for a tableau, and then the curtain falls, or Liberty may step to the front of the stage, leading the boys (who follow in a single file) and then the little girls at the end, making one lap around the stage before exiting.


Marie Irish

Marie Irish

The Star-Spangled Banner

The Star-Spangled Banner

HANG back of stage with dark cloth, cover a box with dark material and to back or center of it fasten a large flag. Let the box stand four feet from wall so as to leave room to pass behind it.

HANG a dark cloth at the back of the stage, cover a box with a dark material, and attach a large flag to the back or center of it. Position the box four feet away from the wall to allow space to walk behind it.

If possible have ten girls of good size, ten small girls and ten boys take part, though this number may be reduced if necessary. All the girls dress in white with trimmings of red, white and blue and each carries a flag. « 124 » As the music of STAR-SPANGLED BANNER begins the large girls march on in two lines, half coming from right and half from left. After them come the small girls, half from each side, all march and take places thus:

If possible, have ten tall girls, ten small girls, and ten boys participate, although this number can be reduced if needed. All the girls should wear white with red, white, and blue accents and each should carry a flag. « 124 » As the music of The Star-Spangled Banner starts, the tall girls march in two lines, half coming from the right and half from the left. Then the small girls follow, also coming from each side, and all march to take their places like this:

They stand motionless, with flags at right side until music reaches words, "Oh! say, does the star-spangled banner still wave," then all raise flags and wave them. As music of second stanza begins, the girls hold flags again at sides, and the boys march in, each one carrying an air-gun or rifle. They come on stage, half from right and half from left, marching slowly and carefully. As the boys get nearly to center of stage each girl quickly raises her flag, takes aim with it as though it were a gun, pointing it at line of boys. The boys stop as if in fear, then pass quickly from stage, those from the right going off at left, and those from left going off at right. Then as the music reaches the refrain, sing the words of third stanza instead of second, the boys helping behind scenes and all singing with spirit, "And the star-spangled banner in triumph shall wave, O'er the land of the free and the home of the brave," the girls waving their flags. A fine effect may be obtained by burning colored light[K] during the singing.

They stand still, holding flags to their right, until the music starts the words, "Oh! say, does the star-spangled banner still wave," at which point everyone raises and waves their flags. As the music for the second verse begins, the girls drop their flags back to their sides, and the boys march in, each carrying an air-gun or rifle. They enter the stage, half from the right and half from the left, marching slowly and carefully. As the boys near the center of the stage, each girl quickly raises her flag and aims it like a gun at the line of boys. The boys stop in apparent fear, then quickly exit the stage, with those from the right going left and those from the left going right. Then, as the music reaches the chorus, they sing the words of the third verse instead of the second, with the boys supporting from behind the scenes and everyone singing energetically, "And the star-spangled banner in triumph shall wave, O'er the land of the free and the home of the brave," while the girls wave their flags. A great effect can be created by using colored light[K] during the song.

[K] The colored light referred to is what is known as Tableaux Light. It is put up in quarter-pound cans, each of one color, in Red, Green, Blue, Gold, and White. It may be had from the publishers of this book for per can, 30 cents; two for 55 cents; or four for $1.00; pre-paid.

[K] The colored light mentioned is called Tableaux Light. It's available in quarter-pound cans, each in one of the following colors: Red, Green, Blue, Gold, and White. You can purchase it from the publishers of this book for 30 cents per can, 55 cents for two, or $1.00 for four, with payment in advance.

America

USA

Hang back of stage with dark cloth, also cover with dark material a box that stands at center of back of stage. On this box, as curtain is drawn, stands a young lady dressed as Columbia, wearing white gown, drapery of red, white and blue bunting, and gilt crown on head. She holds in one hand a large flag and in the other six streamers made of cambric: two white, two red, and two blue, three or four inches wide and nearly two yards long. On either side of Columbia stand three girls, dressed in white and wearing sashes of red, white and blue, tied in a bow at side. Columbia holds streamers by one end and each girl holds the end of one. They stand thus:

Chill a dark curtain at the back of the stage, and also cover a box placed in the center back of the stage with dark material. As the curtain is drawn, a young woman dressed as Columbia appears on this box, wearing a white gown with drapery of red, white, and blue bunting, and a gold crown on her head. In one hand, she holds a large flag, and in the other, six ribbons made of cambric: two white, two red, and two blue, each about three or four inches wide and nearly two yards long. On either side of Columbia, there are three girls dressed in white, each wearing sashes of red, white, and blue tied in a bow at their sides. Columbia holds the ribbons by one end, and each girl holds the end of one. They stand this way:

As music of second stanza is begun they kneel, taking position as marked by crosses in the diagram. As music of third stanza is begun the girls rise, raise hands holding streamers, point upward, and gaze reverently heavenward. All sing very softly the words of stanza, "Our fathers' God, to Thee, Author of liberty," etc.

As the music for the second stanza starts, they kneel, taking their positions as indicated by crosses in the diagram. When the music for the third stanza begins, the girls stand, lift their hands holding streamers, point upward, and look up toward the sky with reverence. Everyone sings very softly the words of the stanza, "Our fathers' God, to Thee, Author of liberty," etc.

Swanee Ribber

Swanee River

Have the words of the song sung by someone behind the scenes, the verse by one person and the chorus by a number of voices. Across the stage hang a curtain, leaving room in front for a person to walk. A young man, or tall boy, comes on stage with face blackened and wig of curled hair (made by sewing curled hair onto a circular piece of black cloth, then running a rubber cord around edge and drawing up to fit head[L]), wearing stiff hat, common dark suit and a large bright necktie. He stands in front of curtain at right of stage as the words are sung:

Have the words of the song performed by someone offstage, with one person singing the verse and a group singing the chorus. A curtain hangs across the stage, leaving space in front for someone to walk in. A young man, or tall boy, steps onto the stage with a blackened face and a wig of curly hair (made by sewing curled hair onto a circular piece of black fabric, then using a rubber cord around the edge to fit it to his head[L]). He stands in front of the curtain on the right side of the stage as the song is sung:

[L] These wigs may also be purchased, ready for use, from the publishers of this book.

[L] You can also buy these wigs, fully prepared for use, from the publishers of this book.

"'Way down upon de Swanee ribber,
Far, far away,
Dere's wha' my heart is turning ebber,
Dere's wha' de old folks stay."

"'Way down upon the Swanee River,
Once upon a time,
That's where my heart is always longing,
"That's where the seniors live."

With head bent, hands in pockets and a dejected manner he walks slowly across stage to left and back to center during the words:

With his head down, hands in his pockets, and a downcast attitude, he slowly walks from the left side of the stage back to center while the words play out:

"All up and down de whole creation
Sadly I roam,
Still longing for de old plantation
And for de old folks at home."

"All up and down the whole creation
Sadly I wander,
Still longing for the old plantation
And for the older people at home.

He stands at center of front during singing of chorus:

He stands at the front and center while the chorus sings:

"All de world am sad and dreary (hands extended at sides, arm's length)
Eb'rywhere I roam; (hands brought together in front of body)
Oh! darkies, how my heart grows weary (right hand over heart)
Far from de old folks at home!" (left hand in pocket, head bowed on right hand, sad, dejected attitude)

"All the world feels sad and gloomy (hands extended at sides, arm's length)
Everywhere I go; (hands clasped in front of body)
Oh! my friends, how my heart feels heavy (right hand over heart)
"Far from the old ones at home!" (left hand in pocket, head down on right hand, looking sad and defeated)

At close of chorus the impersonator goes to right corner of front of stage and stands there during the second stanza. The curtain is now drawn, revealing two little darkey boys, scantily clothed, feet bare, and old hats on heads. They chase each other across back of stage during the words:

At the end of the chorus, the impersonator moves to the right corner at the front of the stage and stays there during the second stanza. The curtain is then drawn, revealing two young Black boys, dressed in minimal clothing, with bare feet and old hats on their heads. They run after each other across the back of the stage while the words are sung:

"All round de little farm I wandered
When I was young,
Den many happy days I squander'd,
Many de songs I sung;
When I was playing with my brudder
Happy was I;"

"All around the little farm I roamed
When I was a kid,
Then many happy days I wasted,
A lot of the songs I sang;
When I was playing with my brother
I was so happy.

A girl with face blackened, bright cap on head, calico dress, large apron, and bright kerchief around neck comes on stage and one little darkey boy stands on either side of her as the words are sung:

A girl with a blackened face, a bright cap on her head, a calico dress, a large apron, and a bright kerchief around her neck comes on stage, with a little dark-skinned boy standing on either side of her as the words are sung:

"Oh! take me to my kind old mudder,
Dere let me live and die."

"Oh! take me to my kind old mother,
"Let me live and die here."

The mother and little boys stand at back of stage during chorus, the young man comes out to near-center and acts chorus as before, except at the words, "Far from de old folks at home!" he turns and extends both arms toward the group at back of stage.

The mother and little boys stand at the back of the stage during the chorus. The young man steps out toward the center and performs the chorus like before, except when he sings the words, "Far from the old folks at home!" he turns and extends both arms toward the group at the back of the stage.

As third stanza is begun the mother and boys pass off and a young colored lady, gaily and gaudily dressed in bright colors, with a large, "much-trimmed" hat, comes on and stands at back of stage. She gazes off to side of stage and a young man, dressed about like one who does the acting, comes on carrying a banjo. She goes to meet him, they walk back to center of back, she sits on a stump of wood (or something to give an outdoor effect), and he sits at her feet and pretends to play the banjo. During the singing of this stanza the impersonator stands as before, at side of stage, but as chorus begins he comes toward center of front and acts as during second singing « 128 » of chorus. The mother and two boys come back on and stand, tableau effect, beside the girl and boy with the banjo.

As the third stanza begins, the mother and boys exit, and a young Black woman, dressed brightly in flashy colors and wearing a large, embellished hat, enters and stands at the back of the stage. She looks off to the side, and a young man, looking like someone in a performance, enters carrying a banjo. She goes to meet him, and they walk together to the center at the back. She sits on a piece of wood (or something to create an outdoor vibe), and he sits at her feet and pretends to play the banjo. During the singing of this stanza, the impersonator stands as before at the side of the stage, but as the chorus starts, he moves toward the front center and acts as he did during the second chorus. The mother and two boys return and stand in a tableau beside the girl and the boy with the banjo.

The Blue and the Gray

The Blue and the Gray

Hang back of stage with black cloth and fasten on wall, staffs crossed, two good-sized flags. A few feet from the back, with about four feet aisle between them, arrange two graves by using small boxes covered with dark cloth for the mounds and nailing at the head of each a white board for a stone. If it is not desired to have the words sung they may be recited by someone at side of stage. A girl dressed as a woman, all in black, comes on slowly, passes across back of stage from left to right, down right side, up to aisle between two mounds and kneels beside one of them as the stanza is read:

Chill a black cloth backdrop on the wall and cross two staffs with good-sized flags. A few feet from the back, leave about a four-foot aisle between them and set up two graves using small boxes covered with dark cloth for the mounds, nailing a white board at the head of each to represent a gravestone. If singing the words isn't preferred, someone on the side of the stage can recite them instead. A girl dressed in all black, portraying a woman, walks on slowly, crosses the back of the stage from left to right, moves down the right side, goes up to the aisle between the two mounds, and kneels beside one of them as the stanza is read:

"By the flow of the inland river,
Whence the fleets of iron have fled,
Where the blades of the grave-grass quiver,
Asleep are the ranks of the dead;
Under the sod and the dew,
Waiting the judgment day;
Under the one, the Blue,
Under the other, the Gray."

"By the flow of the inland river,
Where the iron fleets have traveled,
Where the blades of grass sway,
The ranks of the dead lie still;
Beneath the soil and the dew,
Waiting for judgment day;
Under the one, the Blue,
"Under the other, the Gray."

She rises and from a small basket which she carries she places a bouquet on the mound by which she knelt, then turns and places one on the other mound as the words are read:

She gets up and from a small basket she carries, she puts a bouquet on the mound where she knelt, then turns and places one on the other mound as the words are read:

"From the silence of sorrowful hours,
The desolate mourners go,
Lovingly laden with flowers,
Alike for the friend and the foe;
Under the sod and the dew,
Waiting the judgment day;
Under the roses, the Blue,
Under the lilies, the Gray."

"From the quiet of sad times,
The lonely mourners carry on,
Carrying flowers with love,
For both friends and foes;
Under the ground and the dew,
Waiting for judgment day;
Under the roses, the Blue,
"Under the lilies, the Gray."

As stanza is finished she passes to back and stands by flags. Six girls in white, each carrying a small basket of flowers, march on at left back, pass to center, then down aisle between mounds to front; three turn to each side, pass around and stand in two lines of three each, one line on outside of each mound, both lines facing center, while stanza is read:

As the stanza ends, she moves to the back and stands by the flags. Six girls in white, each holding a small basket of flowers, march in from the left back, go to the center, and then walk down the aisle between the mounds to the front; three turn to each side, walk around, and form two lines of three, with one line on the outside of each mound, both lines facing the center while the stanza is read:

"So, with an equal splendor,
The morning sun-rays fall,
With a touch impartially tender,
On the blossoms blooming for all;
Under the sod and the dew,
Waiting the judgment day;
Broidered with gold, the Blue,
Mellowed with gold, the Gray."

"So, with equal beauty,
The morning sun is shining,
With a gentle touch for everyone,
On the flowers blooming for everyone;
Under the soil and the dew,
Waiting for judgment day;
Embroidered in gold, the Blue,
"Softened with gold, the Gray."

As the next stanza is begun the girls cover the mounds with flowers, then march back up the aisle between mounds and stand three on each side of girl in black by flags, finally all marching off stage when stanza is finished:

As the next stanza starts, the girls cover the mounds with flowers, then walk back up the aisle between the mounds and stand three on each side of the girl in black by the flags, finally all marching off stage when the stanza is done:

"No more shall the war cry sever,
Or the winding rivers be red;
They banish our anger for ever
When they laurel the graves of our dead.
Under the sod and the dew,
Waiting the judgment day;
Love and tears for the Blue,
Tears and love for the Gray."

"No more will the battle cry divide,
Or the rivers be colored red;
They erase our anger forever
When they pay respects at the graves of our deceased.
Under the soil and the dew,
Waiting for judgment day;
Love and tears for the Blue,
"Tears and love for the Gray."

Francis Miles Finch

Francis Miles Finch

Auld Lang Syne

Old Long Since

This should be given by two as small children as can act it nicely: a little girl with hair powdered, long dark dress, white kerchief and apron, small black lace cap and spectacles, « 130 » and a boy with glasses, powdered hair, long trousers, coat fixed by sewing black "swallow tails" onto a short dark coat, a white cravat and a stiff hat. As song begins they sit at a small table on which are cups and saucers and a tea-pot of tea. The girl pours out a cup of tea for each during the words:

This should be performed by two small children who can do it well: a little girl with styled hair, wearing a long dark dress, a white kerchief and apron, a small black lace cap, and glasses, « 130 » and a boy with glasses, styled hair, wearing long trousers, a coat with black "swallow tails" sewn onto a short dark coat, a white cravat, and a stiff hat. As the song begins, they sit at a small table with cups, saucers, and a teapot. The girl pours a cup of tea for each during the lyrics:

"Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And days of auld lang syne?"

"Should old acquaintances be forgotten,
And never forgotten?
Should old acquaintances be forgotten,
"And what about the days of the past?"

Then as the chorus is sung the boy rises and bows low, then sits and they raise cups, clink them and each takes a drink:

Then as the chorus is sung, the boy stands up and bows deeply, then sits down while they lift their cups, clink them together, and each takes a sip:

"For auld lang syne, my dear,
For auld lang syne;
We'll tak' a cup o' kindness yet,
For auld lang syne."

"For old times' sake, my dear,
For nostalgia's sake;
We'll take a cup of kindness yet,
For nostalgia.

They lean forward and appear to be talking during the words of second verse:

They lean forward and seem to be chatting during the second verse:

"We twa ha'e run aboot the braes,
And pu'd the gowans fine;
But we've wandered mony a weary foot
Sin' auld lang syne."

"We have run around the hills,
And picked the beautiful daisies;
But we've walked many a tired mile
"Since a long time ago."

During singing of chorus second time the girl rises, makes a courtesy to boy, then sits and they drink as before.

During the second time singing the chorus, the girl stands up, bows to the boy, then sits back down and they drink like before.

They stand and shake hands during the stanza:

They stand and shake hands during the verse:

"And here's a hand, my trusty frien',
And gi'e's a hand o' thine;
We'll tak' a cup o' kindness yet,
For auld lang syne."

"And here’s a hand, my trusty friend,
And lend us a hand of yours;
We’ll take a cup of kindness yet,
For nostalgia.

During the chorus each turns to table, takes up cup, both bow, clink cups and drink.

During the chorus, everyone turns to the table, picks up their cup, they all bow, clink their cups, and drink.

Columbia, the Gem of the Ocean

Columbia, the Gem of the Ocean

Words are sung by a chorus of voices off stage. At center of stage have a pedestal—box covered with dark cloth will do—on which a girl dressed as Goddess of Liberty stands, holding a large flag. A number of girls in white, each with a small flag, come in and march in circle around Liberty as the words are sung:

Words are sung by a chorus of voices off stage. At the center of the stage, there’s a pedestal—a box covered with a dark cloth will work—on which a girl dressed as the Goddess of Liberty stands, holding a large flag. A group of girls in white, each with a small flag, enter and march in a circle around Liberty as the words are sung:

"Oh, Columbia, the gem of the ocean,
The home of the brave and the free,
The shrine of each patriot's devotion,
A world offers homage to thee."

"Oh, Columbia, the jewel of the sea,
The land of the brave and the free,
The place where every patriot shows devotion,
"The world honors you."

Six boys march in and stand three on each side of Liberty, the line of girls standing back of the boys and waving flags during words:

Six boys march in and stand three on each side of Liberty, with the line of girls standing behind the boys and waving flags during the words:

"Thy mandates make heroes assemble,
When Liberty's form stands in view;
Thy banners make tyranny tremble,
When borne by the red, white and blue."

"Your commands bring heroes together,
When the symbol of Liberty is visible;
Your flags make tyranny shake,
"When carried by the red, white, and blue."

During the chorus the boys stand in line in front of Liberty and the girls march around them, waving flags. Liberty waves flag also.

During the chorus, the boys stand in a line in front of Liberty while the girls march around them, waving flags. Liberty waves a flag too.

Half of the boys and half of the girls stand in lines on either side of Liberty and give salute to flag during the words[M]:

Half of the boys and half of the girls stand in lines on either side of Liberty and salute the flag during the words[M]:

"'Old Glory,' to greet now come hither,
With eyes full of love to the brim;
May the wreaths of our heroes ne'er wither,
Nor a star of their banner grow dim."

"'Old Glory,' to welcome you here,
With hearts full of love;
May the crowns of our heroes never fade,
"And may no star on their banner lose its shine."

[M] The words in these four lines have been somewhat changed to fit the occasion.

[M] The words in these four lines have been adjusted a bit to suit the occasion.

Then during the rest of the third stanza and the chorus the boys stand at back of Liberty, three on either side, and the girls kneel in tableau effect in front of her.

Then, during the rest of the third stanza and the chorus, the boys stand behind Liberty, three on each side, and the girls kneel in a tableau in front of her.

Home, Sweet Home

Home, Sweet Home

At back of stage arrange a family group around a small table on which are some flowers and a lamp. The mother is sewing, father reading, a little girl playing with a dolly, and a boy working examples. All look happy and cosy. As curtain is drawn revealing the scene, the first stanza of HOME, SWEET HOME is sung, and a young man in soldier uniform, carrying a gun over shoulder, marches back and forth across front of stage as if on duty, looking sad and lonely.

In the back of the stage, arrange a family group around a small table that has some flowers and a lamp. The mother is sewing, the father is reading, a little girl is playing with a doll, and a boy is working on some problems. They all look happy and cozy. As the curtain is drawn to reveal the scene, the first stanza of Home, Sweet Home is sung, and a young man in a soldier's uniform, carrying a gun over his shoulder, marches back and forth across the front of the stage as if on duty, looking sad and lonely.

(If desired, instead of a family group the scene may disclose an elderly lady with bible on her knee.)

(If desired, instead of a family group, the scene may show an elderly woman with a Bible on her lap.)


Marie Irish

Marie Irish

When I'm a Man

When I'm Grown Up

A LITTLE boy wearing a soldier cap, a blue coat much too large for him, a sword buckled at his side, a gun in one hand and a flag in the other, stands in center of stage. As colored light[N] is thrown on the stage he speaks:

A LITTLE boy wearing a soldier cap, a blue coat that's way too big for him, a sword strapped to his side, a gun in one hand, and a flag in the other, stands in the center of the stage. As colored light[N] is cast on the stage, he speaks:

"When I'm a man, a big, tall man,
I'll be a soldier, brave and true,
I will fight my country's battles,
Led on by the Red, White and Blue."

"When I'm a man, a big, tall man,
I'll be a soldier, courageous and loyal,
I'll fight for my country's battles,
"Led by the Red, White, and Blue."

[N] See footnote, p. 124.

__A_TAG_PLACEHOLDER_0__ See footnote, p. 124.

The Soldier's Farewell

The Soldier's Farewell

Little boy dressed as in preceding scene stands with a little girl who has on a long dress and hair done on top of head. She stands half turned away from the boy, who has a hand on her shoulder as if trying to comfort her. Her face is buried in her hands and she seems to weep as he recites:

Small boy dressed like in the previous scene stands with a little girl wearing a long dress and her hair styled up. She is half turned away from the boy, who has a hand on her shoulder as if trying to comfort her. Her face is buried in her hands, and she appears to be crying as he recites:

"How can I bear to leave thee?
It breaks my heart to grieve thee,
But now, whate'er befalls me,
I go where duty calls me."

"How can I stand to leave you?
It breaks my heart to hurt you,
But now, no matter what happens to me,
I’m going where duty calls me."

The March of Civilization

The Progress of Society

A curtain is drawn, revealing at the back of a dimly-lighted stage an Indian tepee with several Indians standing near. A march is played and after several measures the others come onto stage. The line is led by boy dressed as Uncle Sam, who takes position at center of stage in front of tepee. On either side of him stands a soldier, and next to the soldiers stand sailors. The others arrange themselves in line, some on one side and some on other, some sitting on floor in front of line. One, with bible, dresses as minister, one as farmer with large straw hat and rake over shoulder. One as doctor, one as baker, one with tools as carpenter, etc. A girl dresses as nurse; another with gown and mortar-bored cap as a student; one has pen and scroll for writing; and another carries a typewriter, sits on floor with it in front of her and pretends to write on it. When all are in places colored light is thrown on scene and Uncle Sam recites:

A drape is drawn back, revealing an Indian tepee at the back of a dimly lit stage with several Native Americans standing nearby. A march plays, and after a few measures, the others come on stage. The line is led by a boy dressed as Uncle Sam, who takes his place in the center of the stage in front of the tepee. On either side of him stands a soldier, and next to the soldiers are sailors. The others line up, with some on one side and some on the other, while some sit on the floor in front of the line. One person, holding a Bible, is dressed as a minister; another is a farmer wearing a large straw hat and carrying a rake over his shoulder. There’s a doctor, a baker, and someone with tools dressed as a carpenter, etc. A girl is dressed as a nurse; another wears a gown and mortarboard cap as a student; one has a pen and scroll for writing, and another sits on the floor with a typewriter, pretending to write. When everyone is in position, colored light is cast on the scene, and Uncle Sam recites:

"Onward, forward, with steady pace,
Progress leads the American race;
And 'neath her penetrating ray
New wonders come to light each day."

"Onward, forward, at a steady pace,
Progress drives the American spirit;
And beneath her shining light
New wonders are revealed every day."

Liberty

Freedom

A colored boy, barefoot and scantily dressed in short trousers and colored shirt, with a white cloth around head for turban, stands fastened to a box with a chain. The box is covered with dark cloth and on it stands girl dressed as Liberty—long white robe, crown, a drapery of red, white and blue, and in her hand a flag. As light is turned on she looks sadly at boy, then waves her flag above him, and the chain which was lightly fastened drops to floor as boy gives it a pull. He looks at fallen chain, then sinks on knees and, raising hands, clasps them and gazes at Liberty as if asking help. Liberty waves flag above him.

A colored pencil boy, barefoot and barely dressed in short trousers and a colored shirt, with a white cloth wrapped around his head like a turban, is chained to a box. The box is covered with dark cloth, and on it stands a girl dressed as Liberty—wearing a long white robe, a crown, draped in red, white, and blue, and holding a flag. As the light shines on her, she looks sadly at the boy, then waves her flag above him. The chain, which was loosely attached, falls to the floor as the boy pulls on it. He looks at the fallen chain, then kneels down, raising his hands, clasping them together, and gazes at Liberty as if asking for help. Liberty waves her flag over him.

Peace

Peace

On a dais at back of stage sits boy costumed as Uncle Sam, with a large flag. On one side of him stands Liberty, in white with drapery of red, white and blue, and gilt crown. On other side is Wisdom, wearing white dress with purple mantle fastened on right shoulder, bronze cap with plumes, sandals, and shield and spear by her side. To a side and a little in advance of Liberty stands Truth, all in white and carrying banner with "Truth" printed on it. By Wisdom stands Justice, in blue with scarlet mantle fastened on right shoulder and thrown back over left arm. In her right hand she holds a pair of scales and her left rests on a sword. Kneeling at right corner of dais is Ceres, the goddess of corn and harvests, dressed in yellow trimmed with grain, her left hand on sheaf of wheat, her right holding a horn of grain extended to Uncle Sam. Kneeling at left of dais is Pomona, the goddess of fruits, dressed in red trimmed with vines and clusters of grapes. She holds up to Uncle Sam a basket of fruit. As light is turned on a stanza of AMERICA is played.

On a streaming platform at the back of the stage sits a boy dressed as Uncle Sam, holding a large flag. On one side of him stands Liberty, dressed in white with drapery of red, white, and blue, and a gold crown. On the other side is Wisdom, wearing a white dress with a purple cape fastened on her right shoulder, a bronze helmet with feathers, sandals, and a shield and spear beside her. Slightly in front of Liberty is Truth, all in white, carrying a banner that says "Truth." Standing by Wisdom is Justice, dressed in blue with a red cape fastened on her right shoulder and draped over her left arm. In her right hand, she holds a pair of scales, and her left rests on a sword. Kneeling at the right corner of the platform is Ceres, the goddess of corn and harvests, dressed in yellow trimmed with grain, her left hand on a sheaf of wheat, her right hand holding a horn of grain extended toward Uncle Sam. Kneeling at the left of the platform is Pomona, the goddess of fruits, dressed in red trimmed with vines and clusters of grapes. She holds a basket of fruit up to Uncle Sam. As the light shines on them, a stanza of USA is played.

Scenes from the Life of Lincoln

Scenes from the Life of Lincoln

I. THE STUDENT

I. THE STUDENT

Arrange a fireplace by nailing up boards covered with dark cloth in this shape |——|, piling some wood under it, pouring on some wood alcohol, which is set on fire as curtain is drawn. Lying on the floor studying by light of fire is a tall, dark boy.

Organize a fireplace by attaching boards covered with dark fabric in this shape |——|, stacking some wood underneath, and pouring wood alcohol on it, which is lit as the curtain is drawn. A tall, dark boy is lying on the floor studying by the light of the fire.

II. THE LABORER

II. THE WORKER

A tall, dark boy in common work clothes, trousers rather short, stands with axe upraised ready to strike.

A tall person, dark-skinned boy in regular work clothes, with slightly short trousers, stands with an axe raised, ready to swing.

III. THE EMANCIPATOR

III. THE EMANCIPATOR

A tall, dark boy dressed in long black coat and rather ill-fitting clothes, dark hair rumpled and pushed back from forehead, sits writing as a rough-looking fellow with whip in one hand tries to pull a little boy, face blackened and poorly clothed, from his negro mother, who clings to child and weeps. A boy marches on stage, carrying large flag and recites:

A tall person, dark boy wearing a long black coat and somewhat baggy clothes, with messy dark hair pushed back from his forehead, sits writing as a rugged-looking man with a whip in one hand tries to pull a little boy, whose face is dirty and who is poorly dressed, away from his Black mother, who is holding onto her child and crying. A boy walks onto the stage, carrying a large flag and recites:

"No slave beneath that starry flag,
The emblem of the free!
No fettered hand shall wield the brand
That smites for liberty:
No tramp of servile armies
Shall shame Columbia's shore,
For he who fights for freedom's rights
Is free for evermore!"

"No one under that starry flag,
The symbol of freedom!
No chained hand will carry the mark
That fights for freedom:
No march of oppressed armies
Will shame Columbia's shore,
Because anyone who fights for freedom's rights
Is free forever!

George L. Taylor.

George L. Taylor.

IV. THE PARDONER

IV. THE PARDONER

Boy dressed as Lincoln stands in center of stage. By his side kneels a young lady, looking imploringly at him, hands raised and clasped. Lincoln shakes head sadly for "no." Girl bows head on hands and weeps. Lincoln « 136 » goes hurriedly to desk, writes, gives her the paper. She kisses his hand, waves farewell and hurries from stage.

A kid dressed as Lincoln stands in the center of the stage. Next to him kneels a young girl, looking at him with pleading eyes, hands raised and clasped. Lincoln shakes his head sadly for "no." The girl bows her head on her hands and starts to cry. Lincoln « 136 » quickly goes to the desk, writes something, and hands her the paper. She kisses his hand, waves goodbye, and rushes off the stage.

V. THE MARTYR

V. THE MARTYR

On an easel at center of stage have a picture of Lincoln, two large flags draped above it and smaller ones around it. On either side of picture stand girls dressed in white trimmed with red, white and blue bunting, each holding a flag. They repeat:

On a canvas stand at the center of the stage, there’s a picture of Lincoln, with two large flags draped above it and smaller ones surrounding it. On either side of the picture stand girls dressed in white trimmed with red, white, and blue bunting, each holding a flag. They repeat:

"He went about his work—such work as few
Ever had laid on head and heart and hand—
As one who knows, where there's a task to do,
Man's honest will must Heaven's good grace command.

"So he went forth to battle, on the side
That he felt clear was Liberty's and Right's,
As in his peasant boyhood he had plied
His warfare with rude Nature's thwarting mights.

"So he grew up, a destined work to do,
And lived to do it: four long-suffering years.
Ill-fate, ill-feeling, ill-report lived through,
And then he heard the hisses changed to cheers."

"He went about his work—work that few
Have you ever had to tackle something with so much heart and effort—
As someone who knows that when there’s a task to tackle,
A person's genuine intentions must gain Heaven's approval.

"So he stepped into the fight, on the side
He clearly believed it was for Liberty and Justice,
Just like in his rural childhood when he struggled
Against the tough challenges of nature.

"So he grew up, destined for a purpose,
And lived to see it through: four long, challenging years.
Bad luck, bad feelings, and bad rumors persisted,
Then he heard the hissing change to cheers.

Tom Taylor.

Tom Taylor.


WHEN LINCOLN WAS A LITTLE BOY

WHEN LINCOLN WAS A LITTLE KID

Clara J. Denton

Clara J. Denton

Tune: YANKEE DOODLE

Tune: Yankee Doodle

When Lincoln was a little boy,
So fond was he of reading,
His book was with him at the plough
Or in the garden weeding.

His home was in the woods and so
He couldn't have much schooling.
He had to work the live-long day,
And had no time for fooling.

He understood the plough and hoe
And with the ax was handy.
He didn't care for dressing up,
And never was a dandy.

For all the while his head was filled
With plans for gaining knowledge.
A first-class lawyer he became,
Yet never went to college.

He borrowed books from far and near,
From every kindly neighbor,
And studied them most faithfully
« 138 »When resting from his labor.

Chorus: Keep on working, working on,
Daily knowledge claiming,
And you at last will reach the heights
At which you are aiming.

When Lincoln was a young boy,
He loved reading a lot,
His book was with him while plowing
Or pulling weeds in the garden.

His home was in the woods, so
He barely received an education.
He had to work all day long,
And didn't have time to play.

He was skilled with the plow and hoe
And could handle an axe skillfully.
Dressing up didn’t interest him,
He was never flashy.

All the while, his mind was filled
Planning to gain knowledge.
He became a top-notch lawyer,
Even without attending college.

He borrowed books from near and far,
From every supportive neighbor,
And studied them diligently
« 138 »When you're taking a break from work.

Chorus: Keep on working hard,
Claiming knowledge daily,
And you will eventually arrive
The heights you're aiming for.

THE DAY WE CELEBRATE

Celebration Day

Clara J. Denton

Clara J. Denton

Tune: WORK, FOR THE NIGHT IS COMING[O]

Tune: Work, because the night is coming.[O]

THE DAY that gave us Lincoln
Is one we all love well;
The day which now we honor
More than we can tell.
O little old log cabin,
Afar in forest wild,
We love your roof that sheltered
This most wondrous child.

And while we sing his praises
We'll try like him to be:
All upright, true and noble,
From self-seeking free.
And we will yet remember,
However poor our state,
There still is a chance, like Lincoln,
To grow good and great.

This day we will remember
In loyal love and joy;
For time or change can never
Faith in him destroy.
Yes, wreathe this day with flowers
Forever in our thought;
It gave the world a hero
And sweet freedom brought.

THE DAY that gave us Lincoln
Is one we all value;
The day we now celebrate
More than words can say.
Oh little old log cabin,
Deep in the remote woods,
We love your roof that sheltered
This amazing kid.

And while we sing his praises
We'll aim to be like him:
All upright, honest, and noble,
Free from selfish wants.
And we will remember,
No matter how tough our lives are,
There’s always a chance, like Lincoln,
To grow well and thrive.

This day we will honor
With devoted love and joy;
For time or change can never
Shake our trust in him.
Yes, adorn this day with flowers
Always in our thoughts;
It gave the world a hero
And brought sweet freedom.

[O] Music for this may be found in Golden Glees song book, by S. C. Hanson. Price, thirty-five cents, postpaid.

[O] You can find the music for this in the Golden Highlights songbook, by S.C. Hanson. It costs thirty-five cents, including shipping.

LINCOLN SONG

LINCOLN TRACK

Tune: TENTING ON THE OLD CAMP GROUND

Tune: CAMPING ON THE OLD GROUND

WE ARE thinking today of a loved one lost,
Lincoln, the true, the brave;
Of the strong one who came, when tempest tossed,
Our nation's bark to save.

Chorus:

Many are the hearts that are mourning today,
Mourning for the brave laid low;
Many are the eyes looking up to say,
Oh, why must this be so!
Help us to say, humbly we pray,
Father, may Thy will be done!

We are thinking today how he led us on,
Just as the Lord led him,
To the glorious victory well-nigh won;
And our eyes with tears grow dim.

Chorus: Many are the hearts, etc.

We are weeping today, but the hour will come,
Come when we all shall see
Why the will of the Lord hath called him Home,
No more with us to be.

Chorus: Many are the hearts, etc.

We are thinking today of a loved one we've lost,
Lincoln, the genuine, the brave;
Of the strong person who came, when the storm hit,
To save our country's ship.

Chorus:

Many hearts are grieving today,
Mourning for the courageous who have died;
Many eyes are looking up to say,
Oh, why does this have to happen!
Help us to say, humbly we pray,
Father, may Your will be done!

We are thinking today about how he led us forward,
Just as the Lord guided him,
To the glorious victory almost achieved;
And our eyes are filled with tears.

Chorus: Many hearts are grieving, etc.

We are crying today, but the time will come,
When we all see
Why the will of the Lord has called him Home,
And he won't be with us anymore.

Chorus: Many hearts are grieving, etc.

THE NAME WE SING

THE NAME WE SING

Clara J. Denton

Clara J. Denton

Tune: AMERICA

Tune: America

OF LINCOLN now we sing,
Loud let the welkin ring,
The sound prolong.
« 140 »He broke the bondsman's thrall
And freedom brought to all,
His mighty blows let fall
The shackles strong.

This man of pure intent,
Whose every thought was bent
Sweet peace to bring.
O eyes so keen of view,
O mighty heart so true,
O soul with courage new,
Of thee we sing.

So long as human speech
O'er this broad land shall reach
From shore to shore,
Here will his noble name
Its high place always claim
Unequaled in its fame
Forever more.

OF LINCOLN now we sing,
Loud let the heavens ring,
The sound continues.
« 140 »He broke the bondsman's chains
And brought freedom to all,
His powerful actions fell
The heavy shackles.

This man with pure intent,
Whose every thought was focused
On achieving sweet peace.
O eyes so sharp and clear,
O mighty heart so true,
O soul with courage new,
We sing of you.

As long as people speak
Across this vast land,
From coast to coast,
Here will his noble name
Always hold its place
Unequaled in its fame
Forever.

HIS NAME

HIS NAME

Clara J. Denton

Clara J. Denton

Tune: MARCHING THROUGH GEORGIA

Tune: MARCHING THROUGH GEORGIA

IN OLD Kentucky's wilds in a cabin that we know,
Before this day of days just one hundred years ago,
A blue-eyed baby came to this world of strife and woe,
And plain "Abraham" they called him.

Chorus:

O yes, O yes, for truth will make you free,
O yes, O yes, sweet truth gives liberty.
We'll sing this chorus over, and shout from sea to sea
« 141 »'Tis now "Honest Abe" we honor.

But later on, because he the truth would always tell,
Another name they gave him and it became him well;
A name we'll always treasure, which none could buy or sell,
And now "Honest Abe" we honor.

Chorus: O yes, O yes, etc.

And, now, if we could choose a great blessing for each youth,
A something that would last till the end of life forsooth,
We know we'd choose at once "Honest Abe's" great love for truth,
And now "Honest Abe" we honor.

Chorus: O yes, O yes, etc.

To be the President is indeed an honor great,
And most nobly did he bear his duty's heavy weight,
But the name that first he won was more than royal state,
And now "Honest Abe" we honor.

Chorus: O yes, O yes, etc.

IN OLD Kentucky's wilds in a cabin that we know,
Before this significant day just one hundred years ago,
A blue-eyed baby was born into this world of struggle and sorrow,
And they just called him "Abraham."

Chorus:

Oh yes, oh yes, for the truth will set you free,
Oh yes, oh yes, sweet truth brings liberty.
We'll repeat this chorus and shout from coast to coast
« 141 »It's now "Honest Abe" we celebrate.

But later on, because he always spoke the truth,
They gave him another name, and it suited him well;
A name we'll always value, which cannot be bought or sold,
And now we honor "Honest Abe."

Chorus: Oh yes, oh yes, etc.

And now, if we could pick a great blessing for each young person,
Something that would last until the very end of life,
We know we'd choose right away "Honest Abe's" deep love for truth,
Now we honor "Honest Abe."

Chorus: Oh yes, oh yes, etc.

Holding the position of President is indeed a great honor,
And he carried the heavy weight of his duty nobly,
But the name he first earned was more than any royal title,
And now we honor "Honest Abe."

Chorus: Oh yes, oh yes, etc.

A SONG OF REJOICING

A Celebration Song

Clara J. Denton

Clara J. Denton

Tune: THE BATTLE CRY OF FREEDOM

Tune: THE BATTLE CRY OF FREEDOM

WE ARE children of one flag, friends, yes, of the colors three,
And proudly we're singing of Lincoln.
He it was who kept this country all safe for you and me,
« 142 »And proudly we're singing of Lincoln.

Chorus: The old flag forever, hurrah! friends, hurrah!
"To Lincoln we owe it"
Shout from afar,
While we rally 'round the flag, friends,
Rally once again,
Still proudly we're singing of Lincoln.

And today we'll not forget while our flag is waving high,
And gladly we're singing of Lincoln,
All the soldier boys that fought and for us did bravely die.
Still gladly we're singing of Lincoln.

Chorus: The old flag forever, etc.

Yes, the country that he saved we will honor ever more,
While loudly we're singing of Lincoln.
And the dear old flag shall wave still on high from shore to shore,
While loudly we're singing of Lincoln.

Chorus: The old flag forever, etc.

Since for Freedom did he live, and for Freedom did he die,
Now proudly we're singing of Lincoln.
We will strive like him to keep all our standards pure and high,
While proudly we're singing of Lincoln.

Chorus: The old flag forever, etc.

WE ARE children of one flag, friends, yes, of the three colors,
And we proudly sing about Lincoln.
He is the one who kept this country safe for you and me,
« 142 »And we proudly sing about Lincoln.

Chorus: The old flag forever, hooray! friends, hooray!
"We owe it to Lincoln"
Yell from far away,
As we come together around the flag, friends,
Let’s gather again,
We still proudly sing about Lincoln.

And today we won't forget while our flag waves high,
And we happily sing about Lincoln,
All the soldiers who fought and bravely died for us.
We still happily sing about Lincoln.

Chorus: The old flag forever, etc.

Yes, the country he saved will always be honored,
While we sing loudly about Lincoln.
And the beloved old flag will continue to wave high from coast to coast,
While we sing loudly about Lincoln.

Chorus: The old flag forever, etc.

Since he lived for Freedom and died for Freedom,
Now we proudly sing about Lincoln.
We will strive like him to keep all our values pure and high,
As we proudly sing about Lincoln.

Chorus: The old flag forever, etc.

♫ Click here to play song.
LINCOLN DEAR
♫ Click here to play song.
LINCOLN'S BIRTHDAY
Lincoln's Birthday - Concluded
♫ Click here to play song.
THE SUNNY SOUTHLAND
The Sunny Southland--Concluded

WHY DUMMY CLOCKS MARK 8:18

WHY FAKE CLOCKS SHOW 8:18

THERE are few who have not seen the ordinary sign of a jeweler, an immense imitation of a watch hanging over the front of the store. But it is safe to say that the number who have ever detected anything curious in these same signs is small. At 8:18 p. m., April 14, 1865, Abraham Lincoln was assassinated in Ford's Theatre at Washington by John Wilkes Booth. Since that fatal night every one of these watch-signs that has gone from the factory of the only man who makes them has shown the hour of 8:18. The man who makes them said: "I was working on a sign for Jeweler Adams, who kept a store on Broadway across the street from Stewart's. He came running in while I was at work and told me the news. 'Paint those hands at the hour Lincoln was shot, that the deed may never be forgotten,' he said. I did so. Since then every watch-sign that has gone out of here has been lettered the same as that one."

THERE are few who haven't seen the classic jeweler's sign, an enormous replica of a watch hanging over the store's entrance. But it's safe to say that not many have ever noticed anything unusual about these signs. At 8:18 p.m. on April 14, 1865, Abraham Lincoln was assassinated at Ford's Theatre in Washington by John Wilkes Booth. Since that tragic night, every one of these watch signs produced by the only person who makes them has displayed the hour of 8:18. The man who creates them said: "I was in the middle of making a sign for Jeweler Adams, who had a store on Broadway across from Stewart's. He came rushing in while I was working and told me the news. 'Set the hands to the time Lincoln was shot, so that this act is never forgotten,' he said. I did as he asked. Since then, every watch sign that has left this place has been marked the same way as that one."

Journal of Education

Journal of Education

LINCOLN'S TENDERNESS

LINCOLN'S COMPASSION

WHEN Lincoln was on his way to the National Cemetery at Gettysburg, an old gentleman told him that his only son fell on Little Round Top at Gettysburg and he was going to look at the spot.

WHEN Lincoln was on his way to the National Cemetery at Gettysburg, an elderly man told him that his only son died on Little Round Top at Gettysburg and he was going to visit the site.

Mr. Lincoln replied: "You have been called on to make a terrible sacrifice for the Union, and a visit to that spot, I fear, will open your wounds afresh.

Mr. Lincoln replied: "You’ve been asked to make a profound sacrifice for the Union, and visiting that place, I’m afraid, will reopen your wounds."

"But, oh, my dear sir, if we had reached the end of such sacrifices, and had nothing left for us to do but to place garlands on the graves of those who have already fallen, we could give thanks even amidst our tears; but when I think of the sacrifices of life yet to be offered, and the hearts and homes yet to be made desolate before this dreadful war is over, my heart is like lead within me, and I feel at times like hiding in deep darkness."

"But, oh, my dear sir, if we had reached the end of such sacrifices, and had nothing left to do but to place flowers on the graves of those who have already fallen, we could give thanks even through our tears; but when I think of the lives still to be sacrificed, and the hearts and homes yet to be destroyed before this awful war is over, my heart feels heavy, and at times, I just want to hide in deep darkness."

At one of the stopping places of the train a beautiful little girl, having a bunch of rosebuds in her hand, was held up to an open window of the President's car, lisping, "Flowerth for the Prethident." The President stepped to the window, took the rosebuds, bent down and kissed the child, saying: "You are a sweet little rosebud yourself! I hope your life will open into perpetual beauty and goodness."

At one of the train stops, a lovely little girl with a bunch of rosebuds in her hand was held up to an open window of the President's car, lisping, "Flowers for the President." The President stepped to the window, took the rosebuds, bent down, and kissed the child, saying: "You’re a sweet little rosebud yourself! I hope your life unfolds into endless beauty and goodness."

GRANTING A PARDON

Granting a pardon

This story, probably better than any other, illustrates the noble and sublime qualities of our great Lincoln. It is a forceful illustration of his justice—justice tempered with mercy.

This story, perhaps more than any other, shows the admirable and inspirational traits of our great Lincoln. It strongly emphasizes his sense of justice—justice combined with compassion.

"WELL, my child," he said, in his pleasant, cheerful tone, "what do you want so bright and early in the morning?"

WELL, my kid," he said, in his friendly, upbeat tone, "what do you need so early in the morning?"

"Bennie's life, please," faltered Blossom.

"Bennie's life, please," said Blossom.

"Bennie? Who is Bennie?"

"Bennie? Who’s Bennie?"

My brother, sir. They are going to shoot him for sleeping at his post.

My brother, sir. They're going to shoot him for falling asleep on duty.

"Oh, yes;" and Mr. Lincoln ran his eye over the papers before him. "I remember. It was a fatal sleep. You see, child, it was a time of special danger. Thousands of lives might have been lost for his culpable negligence."

"Oh, definitely;" and Mr. Lincoln scanned the papers in front of him. "I remember. It was a deadly mistake. You see, kid, it was a particularly risky time. Thousands of lives could have been lost due to his careless negligence."

"So my father said," replied Blossom, gravely; "but poor Bennie was so tired and Jemmie so weak. He did the work of two, sir, and it was Jemmie's night, not his; but Jemmie was too tired, and Bennie never thought about himself, that he was tired, too."

"So my dad said," replied Blossom seriously; "but poor Bennie was so tired and Jemmie was so weak. He did the work of two, sir, and it was Jemmie's turn, not his; but Jemmie was too worn out, and Bennie never thought about himself, that he was tired too."

"What is this you say, child? Come here; I do not understand," and the kind man caught eagerly, as ever, at what seemed to be a justification of an offense.

"What do you mean, kid? Come here; I don't get it," and the kind man eagerly grabbed onto what looked like a reason for an offense.

Blossom went to him; he put his hand tenderly on her shoulder and turned up the pale, anxious face toward his. How tall he seemed! and he was the President of the United States, too. But Blossom told her simple and straightforward story, and handed Mr. Lincoln Bennie's letter to read.

Blossom approached him; he gently placed his hand on her shoulder and lifted her pale, worried face to his. He seemed so tall! And he was the President of the United States, as well. But Blossom shared her simple and honest story and handed Mr. Lincoln Bennie's letter to read.

He read it carefully; then, taking up his pen, wrote a few hasty lines and rang his bell.

He read it carefully; then, picking up his pen, wrote a few quick lines and rang his bell.

Blossom heard this order given: "Send this dispatch at once."

Blossom heard the command: "Send this message right away."

The President then turned to the girl and said: "Go home, my child, and tell that father of yours, who could approve his country's sentence even when it took the life of a child like that, that Abraham Lincoln thinks the life far too precious to be lost. Go back—or wait until tomorrow. Bennie will need a change after he has so bravely faced death; he shall go with you."

The President then turned to the girl and said: "Go home, my child, and tell your father, who could support his country’s decision even when it takes the life of a child like that, that Abraham Lincoln believes a life is far too valuable to be lost. Go back—or wait until tomorrow. Bennie will need to rest after he has so bravely faced death; he will go with you."

"God bless you, sir," said Blossom; and who shall doubt that God heard and registered the request?

"God bless you, sir," said Blossom, and who can doubt that God heard and took note of the request?

Two days after this interview the young soldier came to the White House with his little sister. He was called into the President's private office and a strap fastened upon his shoulder. Mr. Lincoln then said: "The soldier that could carry a sick comrade's baggage and die for the act so uncomplainingly deserves well of his country." Then Bennie and Blossom took their way to their green mountain home. A crowd gathered at the Mill depot to welcome them back; and as Farmer Owen's hand grasped that of his boy, tears flowed down his cheeks, and he was heard to say fervently: "The Lord be praised!"

Two days after this interview, the young soldier came to the White House with his little sister. He was called into the President's private office and a strap was fastened on his shoulder. Mr. Lincoln then said, "The soldier who could carry a sick comrade's baggage and die for it so selflessly deserves a lot from his country." Then Bennie and Blossom made their way back to their green mountain home. A crowd gathered at the Mill depot to welcome them back, and as Farmer Owen shook hands with his son, tears streamed down his cheeks, and he was heard saying earnestly, "Thank God!"

LINCOLN'S AUTOBIOGRAPHY

Lincoln's Memoir

This is what Abraham Lincoln himself had to say of his own and his family history, in a letter to his friend, the Hon. Jesse W. Fell, of Bloomington, Ill., under date of December 20, 1859—the year preceding his election to the Presidency, and about the time his friends were beginning to think seriously of his nomination:

This is what Abraham Lincoln wrote about his own family history in a letter to his friend, the Hon. Jesse W. Fell, from Bloomington, Ill., dated December 20, 1859—the year before he was elected President and when his supporters were beginning to take his nomination seriously:

"IWAS born February 12, 1809, in Hardin County, Kentucky. My parents were both born in Virginia, of distinguished families—second families, perhaps I should say. My mother, who died in my tenth year, was of a family of the name of Hanks, some of « 151 » whom now reside in Adams and others in Macon County, Illinois. My paternal grandfather, Abraham Lincoln, emigrated from Rockingham County, Virginia, to Kentucky, about 1781 or 1782, where, a year or two later, he was killed by Indians, not in battle, but by stealth, when he was laboring to open a farm in the forest. His ancestors, who were Quakers, went to Virginia from Berks County, Pennsylvania. An effort to identify them with the New England family of the same name ended in nothing more than a similarity of Christian names in both families, such as Enoch, Levi, Mordecai, Solomon, Abraham, and the like.

IWAS born on February 12, 1809, in Hardin County, Kentucky. My parents both came from Virginia, from notable families—maybe I should say second families. My mother, who passed away when I was ten, belonged to the Hanks family, some of whom now live in Adams and others in Macon County, Illinois. My paternal grandfather, Abraham Lincoln, moved from Rockingham County, Virginia, to Kentucky around 1781 or 1782, where, a year or two later, he was killed by Indians—not in battle, but stealthily, while he was working to clear a farm in the woods. His ancestors, who were Quakers, came to Virginia from Berks County, Pennsylvania. Efforts to connect them to a New England family with the same name found nothing more than a resemblance in Christian names between both families, like Enoch, Levi, Mordecai, Solomon, Abraham, and so on.

"My father, at the death of his father, was but six years of age, and he grew up literally without education. He removed from Kentucky to what is now Spencer County, Indiana, in my eighth year. We reached our new home about the time the State came into the Union (1816). It was a wild region, with many bears and other wild animals still in the woods. There I grew up. There were some schools, so-called, but no qualification was ever required of a teacher beyond 'reading, 'ritin', and 'cipherin' to the Rule of Three. If a straggler, supposed to understand Latin, happened to sojourn in the neighborhood he was looked upon as a wizard. There was absolutely nothing to excite ambition for education. Of course, when I came of age, I did not know much. Still, somehow, I could read, write, and cipher to the Rule of Three, but that was all. I have not been to school since. The little advance I now have upon this store of education I have picked up from time to time under the pressure of necessity.

"My father was only six years old when his father died, and he grew up practically without any education. He moved from Kentucky to what is now Spencer County, Indiana, when I was eight. We arrived at our new home around the time the state joined the Union (1816). It was a wild area, with plenty of bears and other wild animals still roaming the woods. That's where I grew up. There were a few schools, but the only qualifications for a teacher were 'reading,' 'writing,' and 'ciphering' up to the Rule of Three. If a traveler who supposedly knew Latin happened to stay in the area, he was seen as a wizard. There was nothing to inspire a desire for education. So, when I became an adult, I didn't know much. Still, somehow, I could read, write, and do some arithmetic to the Rule of Three, but that was it. I haven't been to school since. The little knowledge I have gained beyond that basic education has come from time to time out of necessity."

"I was raised to farm-work, which I continued until I was twenty-two. At twenty-one I came to Illinois and passed the first year in Macon County. Then I got to New Salem, at that time in Sangamon, now in Menard County, where I remained a year as a sort of clerk in a store. Then came the Black Hawk War and I was elected a captain of volunteers—a success which gave me more « 152 » pleasure than any I have had since. I went through the campaign, was elected, ran for the Legislature in the same year (1832), and was beaten—the only time I have ever been beaten by the people. The next, and three succeeding biennial elections, I was elected to the Legislature. I was not a candidate afterwards. During this legislative period I had studied law and removed to Springfield to practice it. In 1846 I was once elected to the lower House of Congress, but was not a candidate for reëlection. From 1849 to 1854, both inclusive, practiced law more assiduously than ever before. Always a Whig in politics, and generally on the Whig electoral ticket making active canvasses. I was losing interest in politics when the repeal of the Missouri Compromise aroused me again. What I have done since then is pretty well known.

"I was raised to farm, which I did until I was twenty-two. At twenty-one, I moved to Illinois and spent my first year in Macon County. Then I got to New Salem, which was in Sangamon back then and is now in Menard County, where I worked as a clerk in a store for a year. Then came the Black Hawk War, and I was elected captain of volunteers—a success that gave me more pleasure than anything I’ve experienced since. I went through the campaign, was elected, ran for the Legislature in the same year (1832), and lost—the only time I’ve ever been defeated by the people. In the next and three following biennial elections, I was elected to the Legislature. I didn’t run again after that. During this time in the legislature, I studied law and moved to Springfield to practice. In 1846, I was elected to the lower House of Congress but chose not to run for re-election. From 1849 to 1854, I practiced law more diligently than ever. I was always a Whig in politics and usually ran on the Whig electoral ticket, actively campaigning. I started losing interest in politics when the repeal of the Missouri Compromise sparked my engagement again. What I've done since then is pretty well known."

"If any personal description of me is thought desirable it may be said I am, in height, six feet four inches, nearly; lean in flesh, weighing, on an average, one hundred and eighty pounds; dark complexion, with coarse black hair, and gray eyes. No other marks or brands recollected.

"If anyone thinks a personal description of me is necessary, I should mention that I'm about six feet four inches tall, lean, weighing around one hundred eighty pounds; I have a dark complexion, coarse black hair, and gray eyes. No other distinguishing marks or features come to mind."

"Yours truly,

"Best regards,"

"A. Lincoln."

"A. Lincoln."

HOW THEY SANG THE "STAR SPANGLED BANNER" WHEN LINCOLN WAS INAUGURATED

HOW THEY SANG THE "STAR SPANGLED BANNER" WHEN LINCOLN WAS INAUGURATED

Thomas Nast

Thomas Nast

IWAS in Washington a few days prior to the inauguration of Lincoln in 1861, having been sent by the Harpers to take sketches when that event should come off. I did nothing but walk around the city and feel the public pulse, so to speak. There was no necessity of saying anything to anybody. You intuitively recognized that trouble was brewing. Many people had sworn that Lincoln « 153 » should not be inaugurated. Their utterances had fired the Northern heart, and the people loyal to the old flag were just as determined that the lawfully elected President should be inaugurated, though blood should flow in the attempt.

I WAS in Washington a few days before Lincoln's inauguration in 1861, sent by Harpers to take sketches of the event when it happened. I just walked around the city and felt the public mood, so to speak. There was no need to talk to anyone. You could tell instinctively that trouble was on the horizon. Many people had vowed that Lincoln « 153 » should not be inaugurated. Their words had sparked a fire in the North, and those loyal to the old flag were just as set on ensuring that the legally elected President was inaugurated, even if it meant there would be bloodshed in the process.

It was an awful time. People looked different then than they do now. Little knots of men could be seen conversing together in whispers on street corners, and even the whispers ceased when a person unknown to them approached. Everybody seemed to suspect everyone else. Women looked askance at each other, and children obliged to be out would scurry home as if frightened, probably having been given warning by the parents.

It was a terrible time. People looked different back then compared to now. Small groups of men could be seen chatting quietly on street corners, and even their whispers stopped when someone they didn't know came near. Everyone seemed to distrust everyone else. Women eyed each other suspiciously, and kids forced to be outside would hurry home as if scared, likely having been warned by their parents.

The streets at night, for several nights prior to the inaugural ceremonies, were practically deserted. There was a hush over everything. It seemed to me that the shadow of death was hovering near. I had constantly floating before my eyes sable plumes and trappings of woe. I could hear dirges constantly and thought for a while that I would have to leave the place or go crazy.

The streets at night, for several nights leading up to the inaugural ceremonies, were almost empty. There was a quietness all around. It felt like the shadow of death was close by. I kept envisioning dark feathers and symbols of sorrow. I could hear funeral songs playing on a loop and I thought for a moment that I might have to leave or I would lose my mind.

I knew that all these somber thoughts were but imagination, but I also knew that the something which had influenced my imagination was tangible—really existed.

I understood that all these dark thoughts were just my imagination, but I also realized that the thing that had shaped my imagination was real—it actually existed.

The 4th of March came and Mr. Lincoln was inaugurated quietly and without ostentation. After the services were over and it became known that Mr. Lincoln had really been inducted into office there was a savage snarl went up from the disaffected ones.

The 4th of March arrived, and Mr. Lincoln was inaugurated quietly and without show. Once the ceremony was over and word spread that Mr. Lincoln had truly taken office, a fierce growl erupted from those who were unhappy.

The snarl was infectious.

The snarl was contagious.

It was answered by just as savage growls all over the city. But nothing was said. A single yell of defiance, a pistol-shot, or even an oath would have precipitated a conflict.

It was met with equally fierce growls all over the city. But nothing was said. A single shout of defiance, a gunshot, or even a curse would have sparked a fight.

Men simply glared at each other and gnashed their teeth, but were careful not to grit them so it could be heard. I went to my room in the Willard and sat down to do some work. I couldn't work. The stillness was oppressive.

Men simply glared at one another and ground their teeth, but were careful not to clench them so it would be audible. I went to my room in the Willard and sat down to get some work done. I couldn't focus. The silence was suffocating.

At least a dozen times I picked up my pencils, only to throw them down again. I got up and paced the floor nervously. I heard men on either side of me doing the same thing. Walking didn't relieve the severe mental strain. I sat down in my chair and pressed my head in my hands.

At least a dozen times I grabbed my pencils, only to toss them down again. I stood up and paced the floor anxiously. I could hear men on either side of me doing the same thing. Walking didn’t ease the intense mental pressure. I sat back in my chair and buried my head in my hands.

Suddenly I heard a window go up and someone step out on the balcony of the Ebbit House, directly opposite. Everybody in the hotel had heard him.

Suddenly, I heard a window open and someone step out onto the balcony of the Ebbit House, directly across from me. Everyone in the hotel had heard him.

What is he going to do? I asked myself, and I suppose everyone else propounded the same mental interrogation.

What is he going to do? I asked myself, and I guess everyone else was wondering the same thing.

We hadn't to wait long.

We didn't have to wait long.

He began to sing the Star-Spangled Banner in a clear, strong voice.

He started to sing the Star-Spangled Banner in a clear, powerful voice.

The effect was magical, electrical. One window went up, and another, and heads popped out all over the neighborhood. People began to stir on the streets. A crowd soon gathered. The grand old song was taken up and sung by thousands.

The effect was magical, electric. One window went up, and then another, and heads popped out all over the neighborhood. People started to move about on the streets. A crowd quickly gathered. The grand old song was picked up and sung by thousands.

The spell was broken, and when the song was finished tongues were loosened, and cheer after cheer rent the air.

The spell was broken, and when the song ended, people felt free to talk, and cheers erupted in the air.

The man rooming next to me rapped on my door and insisted that I should take a walk with him. As we passed along the corridors we were joined by others, men wild with joy, some of them weeping and throwing their arms around each other's neck.

The guy staying next to me knocked on my door and insisted that I go for a walk with him. As we walked down the halls, more people joined us—guys filled with excitement, some crying and hugging each other.

Others were singing and all were happy.

Others were singing and everyone was happy.

Washington was itself again. The "Star-Spangled Banner" had saved it.

Washington was back to normal. The "Star-Spangled Banner" had rescued it.

LINCOLN'S FAVORITE POEM

LINCOLN'S GO-TO POEM

MORTALITY

Mortal Life

(O WHY SHOULD THE SPIRIT OF MORTAL BE PROUD?)

(O WHY SHOULD THE SPIRIT OF MORTAL BE PROUD?)

"The evening of March 22, 1864," says F. B. Carpenter, "was a most interesting one to me. I was with the President alone in his office for several hours. Busy with pen and papers when I went « 155 » in, he presently threw them aside and commenced talking to me of Shakespeare, of whom he was very fond. Little Tad, his son, coming in, he sent to the library for a copy of the plays, and then read to me several of his favorite passages. Relapsing into a sadder strain, he laid the book aside, and leaning back in his chair said:

The evening of March 22, 1864," says F. B. Carpenter, "was really fascinating for me. I spent several hours alone with the President in his office. He was focused on his writing and paperwork when I arrived, but he soon set them aside and started discussing Shakespeare, whom he really admired. When his son Tad entered, he sent him to the library for a copy of the plays and then read me several of his favorite passages. Shifting to a more serious tone, he put the book down, leaned back in his chair, and said:

"'There is a poem which has been a great favorite with me for years, which was first shown to me when a young man by a friend, and which I afterward saw and cut from a newspaper and learned by heart. I would,' he continued, 'give a great deal to know who wrote it,[P] but I have never been able to ascertain.' Then, half-closing his eyes, he repeated the verses to me as follows:"

"'There’s a poem I’ve cherished for years, shown to me by a friend when I was young. I later found it in a newspaper, cut it out, and memorized it. I would,' he continued, 'give a lot to know who wrote it,__A_TAG_PLACEHOLDER_0__ but I’ve never been able to discover that.' Then, half-closing his eyes, he recited the verses to me like this:"

[P] This poem was written by William Knox, a Scotchman.

[P] This poem was written by William Knox, a Scotsman.

OWHY should the spirit of mortal be proud?
Like a fast-flitting meteor, a fast-flying cloud,
A flash of the lightning, a break of the wave,
He passes from life to his rest in the grave.

The leaves of the oak and the willow shall fade,
Be scattered around, and together be laid;
And the young and the old, and the low and the high,
Shall moulder to dust, and together shall lie.

The child that a mother attended and loved,
The mother that infant's affection that proved,
The husband that mother and infant that blessed,
Each, all, are away to their dwelling of rest.

The maid on whose cheek, on whose brow, in whose eye,
Shone beauty and pleasure,—her triumphs are by;
And the memory of those that beloved her and praised
Are alike from the minds of the living erased.

The hand of the king that the scepter hath borne,
The brow of the priest that the miter hath worn,
The eye of the sage, and the heart of the brave,
« 156 » Are hidden and lost in the depths of the grave.

The peasant whose lot was to sow and to reap,
The herdsman who climbed with his goats to the steep,
The beggar that wandered in search of his bread,
Have faded away like the grass that we tread.

The saint that enjoyed the communion of heaven,
The sinner that dared to remain unforgiven,
The wise and the foolish, the guilty and just,
Have quietly mingled their bones in the dust.

So the multitude goes, like the flower and the weed
That wither away to let others succeed;
So the multitude comes, even those we behold,
To repeat every tale that has often been told.

For we are the same that our fathers have been;
We see the same sights that our fathers have seen,—
We drink the same stream, and we feel the same sun,
And we run the same course that our fathers have run.

The thoughts we are thinking, our fathers would think;
From the death we are shrinking from, they too would shrink;
To the life we are clinging to, they too would cling;
But it speeds from the earth like a bird on the wing.

They loved, but their story we cannot unfold;
They scorned, but the heart of the haughty is cold;
They grieved, but no wail from their slumbers will come;
They enjoyed, but the voice of their gladness is dumb.

They died, ay! they died! and we things that are now,
That walk on the turf that lies over their brow,
Who make in their dwellings a transient abode,
Meet the changes they met on their pilgrimage road.

Yea! hope and despondence, and pleasure and pain,
« 157 » Are mingled together in sunshine and rain;
And the smile and the tear, and the song and the dirge,
Still follow each other, like surge upon surge.

'Tis the wink of an eye, 'tis the draught of a breath,
From the blossom of health to the paleness of death,
From the gilded saloon to the bier and the shroud,—
O why should the spirit of mortal be proud?

OWHY should the spirit of humans be proud?
Like a fleeting meteor, a passing cloud,
A flash of lightning, a crash of the wave,
They move from life to their rest in the grave.

The leaves of the oak and the willow will fade,
Be scattered around, and laid down in the shade;
And the young and the old, and the low and the high,
Will turn to dust, and together will lie.

The child that a mother cared for and loved,
The mother whose affection that infant proved,
The husband who blessed them, both mother and child,
Each one is gone to their resting place mild.

The maid whose cheek and brow, in her eyes,
Displayed beauty and joy—her triumphs are past;
And the memories of those who admired her and praised
Are gone from the minds of the living, erased.

The hand of the king who once held the scepter,
The brow of the priest who once wore the miter,
The eye of the wise, and the heart of the brave,
« 156 » Are hidden and lost in the depths of the grave.

The peasant whose job was to sow and to reap,
The herdsman who climbed with his goats up the steep,
The beggar who wandered in search of his bread,
Have faded away like the grass that we tread.

The saint who felt the presence of heaven,
The sinner who dared to remain unforgiven,
The wise and the foolish, the guilty and just,
Have quietly mingled their bones in the dust.

So the crowd goes, like the flower and the weed
That wither away to let others succeed;
So the crowd comes, even those we can see,
To repeat every tale that has often been told.

For we are the same as our ancestors have been;
We see the same sights that they’ve also seen,—
We drink from the same stream, and feel the same sun,
And we run the same path that our fathers have run.

The thoughts we are thinking, they too would think;
From the death we are afraid of, they too would shrink;
To the life we are holding onto, they too would cling;
But it speeds from the earth like a bird on the wing.

They loved, but their story we cannot share;
They scorned, but the heart of the proud is bare;
They grieved, but no sound from their slumbers will come;
They enjoyed, but the sound of their joy is numb.

They died, yes! they died! and we, the ones now,
Who walk on the ground that lies over them now,
Who make in their homes a fleeting abode,
Face the changes they faced on their journey road.

Yes! hope and despair, and joy and pain,
« 157 » Are mixed together in sunshine and rain;
And the smile and the tear, and the song and the dirge,
Still follow one another, like waves on the surge.

It’s the blink of an eye, it’s the breath that we take,
From the height of good health to the paleness of ache,
From the glittering hall to the coffin and shroud,—
O why should the spirit of humans be proud?

THE GETTYSBURG ADDRESS

THE GETTYSBURG ADDRESS

This address of Abraham Lincoln's was delivered at the dedication of the National Cemetery, Gettysburg, Pennsylvania, November 19, 1863. The great battles fought at Gettysburg, in July, 1863, made that spot historic ground. It was early perceived that the battles were critical, and they are now looked upon as the turning-point of the war of the Union. The ground where the fiercest conflict raged was taken for a national cemetery, and the dedication of the place was made an occasion of great solemnity. The orator of the day was Edward Everett, who was regarded as the most finished public speaker in the country. Mr. Everett made a long and eloquent address, and was followed by the President in a short and simple speech which deeply affected its hearers, and later the country, as a great speech. The impression created on the audience has deepened with time. Mr. Stanton's (Secretary of War in Lincoln's Cabinet) prophecy as to the lasting qualities of the President's address has materialized. He said: "Edward Everett has made a speech that will make many columns in the newspapers, and Mr. Lincoln's perhaps forty or fifty lines. Everett's is the speech of a scholar, polished to the last possibility. It is elegant and it is learned; but Lincoln's speech will be read by a thousand men where one reads Everett's, and will be remembered as long as anybody's speeches are remembered who speaks the English language."

This speech by Abraham Lincoln was given at the dedication of the National Cemetery in Gettysburg, Pennsylvania, on November 19, 1863. The significant battles fought at Gettysburg in July 1863 made it a historic site. It was quickly realized that these battles were pivotal, and they are now viewed as the turning point in the Civil War. The area where the fiercest fighting occurred was set aside as a national cemetery, and the dedication ceremony was conducted with great seriousness. The day's main speaker was Edward Everett, known as the best public speaker in the nation. Mr. Everett delivered a long and eloquent speech, followed by the President's brief and direct address, which deeply affected those in attendance and later became known as a great speech. The impact on the audience has only increased over time. Mr. Stanton (Secretary of War in Lincoln's Cabinet) foresaw the enduring importance of the President's speech. He remarked: "Edward Everett has given a speech that will fill many columns in the newspapers, while Mr. Lincoln's will probably be just forty or fifty lines. Everett's is a scholar's speech, polished to the highest degree. It is sophisticated and learned; however, Lincoln's speech will be read by a thousand people for every one who reads Everett's and will be remembered as long as anyone recalls the speeches of those who speak the English language."

FOURSCORE and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have « 158 » come to dedicate a portion of that field as a final resting-place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate, we cannot consecrate, we cannot hallow this ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or detract. The world will little note, nor long remember, what we say here, but it can never forget what they did here. It is for us, the living, rather to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us,—that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion,—that we here highly resolve that these dead shall not have died in vain,—that this nation, under God, shall have a new birth of freedom,—and that government of the people, by the people, for the people, shall not perish from the earth.

FORTY-seven years ago, our forefathers established a new nation on this continent, built on the ideals of liberty and dedicated to the belief that all people are created equal. Now we find ourselves in a major civil war, testing whether that nation, or any nation founded on those principles, can survive for long. We are gathered on a significant battlefield of that war. We have come to honor a part of that land as a final resting place for those who gave their lives so that this nation might endure. It is completely appropriate that we do this. But in a broader sense, we cannot dedicate, we cannot consecrate, we cannot honor this ground. The courageous men, both living and dead, who fought here, have already honored it far beyond what we could ever add or take away. The world may not pay much attention to what we say here, nor remember it for long, but it will never forget what they did here. It is up to us, the living, to be dedicated to the unfinished work that those who fought here have nobly advanced so far. It is our responsibility to be devoted to the great task ahead of us—that from these honored dead we draw greater commitment to the cause for which they gave their utmost sacrifice—that we resolve that these dead shall not have died in vain—that this nation, under God, shall experience a new birth of freedom—and that government of the people, by the people, for the people, shall not vanish from the earth.

EVENTS IN THE LIFE OF ABRAHAM LINCOLN

EVENTS IN THE LIFE OF ABRAHAM LINCOLN

A LIST OF IMPORTANT FACTS CHRONOLOGICALLY ARRANGED

A LIST OF IMPORTANT FACTS IN CHRONOLOGICAL ORDER

1809 February 12. Born in a log-cabin in Hardin (now Larue) County, Kentucky.
1816 His father moves with his family into the wilderness near Gentryville, Ind.
1818 His mother (Nancy Hanks Lincoln) dies, at the age of 35.
1819 His father's second marriage, to Mrs. Sarah Johnston (Johnson), widow with three children.
1828 Makes a trip to New Orleans and back, at work on a flat-boat.
1830« 159 » February and March. Lincoln family remove to Macon (not Mason) County, Illinois; log-house, near Decatur, on the Sangamon River.
Abraham of age, works independently; makes 3,000 fence rails under contract.
1831 May. Makes another flat-boat trip to New Orleans and back, on which trip he first sees negroes shackled together in chains, and forms his opinions concerning slavery.
Begins work in a store at New Salem, Ill.
1832 Lincoln's first political address.
Enlists in the Black Hawk War; elected a captain of volunteers.
1833 Storekeeper, Postmaster, Surveyor, at New Salem.
1834 Elected to State Legislature.
1835 Death of Lincoln's betrothed, Miss Ann (or Anne) Rutledge, at New Salem. Lincoln deeply grieved.
1836 to 1842. Reëlected to the Legislature.
1837 Studies law in Springfield and forms law partnership with John T. Stuart.
1842 November 4. Marries Mary Todd.
1846 Elected to Congress.
1848 Declines reëlection to Congress.
1849 Returns to Springfield to widen his law practice. Engages in this until 1854.
1851 January 17. Thomas Lincoln (Abraham's father) dies in Coles County, Illinois.
1854 Lincoln's family now consisted of three sons (one had died in his infancy); his law practice remunerative.
1855 Debates with Douglas at Peoria and Springfield.
Elected to State Legislature; resigns to seek U. S. Senatorship, but defeated by Douglas, is reëlected.
1855
1856
} Aids in organizing Republican party.
1858 « 160 » Joint debates in Illinois with Stephen A. Douglas.
1859 Makes political speeches in Ohio, Kansas, etc.
1860 February. Lincoln tours New England; visits New York, and speaks at Cooper Institute, being introduced by W. C. Bryant.
March 16-18. Chicago Republican Convention. Unanimously nominated for President; Hannibal Hamlin, Vice-President.
November 6. Elected President over J. C. Breckenridge, Stephen A. Douglas, and John Bell.
1861 March 4. Inaugurated President (the sixteenth).
April 15. Issues first order for troops to put down the Rebellion.
1862 February. President Lincoln's son Willie dies in the White House.
March. The President as acting Commander-in-chief overrules General McClellan and Council of War as to immediate forward movement.
July 2. Calls for 300,000 three-years troops.
August 4. Calls for 300,000 men, special, nine months.
1863 January 1. Issues the Emancipation Proclamation.
July 1-4. Victories for the Union armies. Battle of Gettysburg, Pa.; defeat for General Lee's Army. Vicksburg captured by General Grant. Lincoln thanks Grant for the capture.
September 17. Calls for 300,000 three-years troops.
November 19. His address at Gettysburg.
1864 February. Calls for 500,000 volunteers.
Renominated and reëlected President.
1865 March 4. Lincoln inaugurated, the second term.
April 14. The President assassinated by J. Wilkes Booth, at Washington. He dies the next morning.
May 4. Burial at Springfield, Ill.

The illustration provided at the end of The Internet Archive was assumed to be the cover for this volume and was moved before the frontispiece. All footnotes were placed as near their anchors as possible.

The illustration included at the end of The Internet Archive was thought to be the cover for this volume and was relocated before the frontispiece. All footnotes were positioned as close to their references as possible.




        
        
    
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