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diff --git a/40120-0.txt b/40120-0.txt new file mode 100644 index 0000000..0a7fe7c --- /dev/null +++ b/40120-0.txt @@ -0,0 +1,895 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 40120 *** + + Price 25 Cents + + + The Vampire Cat + + By + + GERARD VAN ETTEN + + + SERGEL'S + ACTING + DRAMA + + No. 641 + + + ART WORKERS LEAGUE + + + PUBLISHED BY + THE DRAMATIC PUBLISHING COMPANY + CHARLES H SERGEL, PRESIDENT + + + + + Practical Instructions for + Private Theatricals + + By W. D. EMERSON + + Author of "A Country Romance," "The Unknown Rival," + "Humble Pie," etc. + + Price, 25 cents + + Here is a practical hand-book, describing in detail all the + accessories, properties, scenes and apparatus necessary for an + amateur production. In addition to the descriptions in words, + everything is clearly shown in the numerous pictures, more + than one hundred being inserted in the book. No such useful + book has ever been offered to the amateur players of any + country. + + CONTENTS + + Chapter I. =Introductory Remarks.= + + Chapter II. =Stage, How to Make, etc.= In drawing-rooms or + parlors, with sliding or hinged doors. In a single large room. + The Curtain; how to attach it, and raise it, etc. + + Chapter III. =Arrangement of Scenery.= How to hang it. Drapery, + tormentors, wings, borders, drops. + + Chapter IV. =Box Scenes.= Center door pieces, plain wings, door + wings, return pieces, etc. + + Chapter V. =How to Light the Stage.= Oil, gas and electric + light. Footlights, Sidelights, Reflectors. How to darken the + stage, etc. + + Chapter VI. =Stage Effects.= Wind, Rain, Thunder, Breaking + Glass, Falling Buildings, Snow, Water, Waves, Cascades, + Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, + Shots. + + Chapter VII. =Scene Painting.= + + Chapter VIII. =A Word to the Property Man.= + + Chapter IX. =To the Stage Manager.= + + Chapter X. =The Business Manager.= + + Address Orders to + THE DRAMATIC PUBLISHING COMPANY + CHICAGO, ILLINOIS + + + + + THE VAMPIRE CAT + + A PLAY IN ONE ACT FROM + THE JAPANESE LEGEND + OF + THE NABESHIMA CAT + + BY + GERARD VAN ETTEN + + COPYRIGHT, 1918 + BY + THE DRAMATIC + PUBLISHING COMPANY + + CHICAGO + THE DRAMATIC PUBLISHING COMPANY + + + + +CAST OF CHARACTERS + + + PRINCE HIZEN, LORD OF NABESHIMA.... + BUZEN, HIS CHIEF COUNCILLOR........ + RUITEN, A PRIEST................... + ITO SODA, A COMMON SOLDIER......... + KASHIKU, A MAID.................... + O TOYO, WIFE OF THE PRINCE......... + +TIME: Medieval Japan. + +SCENE: The room of O Toyo in the palace. + +TIME OF ACTION: Between 10 and 12 p.m. + +NOTE.--According to the old Japanese legend, the soul of a cat can enter +a human being. + + + + +THE VAMPIRE CAT + + +SCENE. _At R. is a dressing table, upon it a steel mirror, toilet +articles, and two lighted candles with ornate shades. R. U. a section of +shoji leads to another room, this section is now closed. At R. C. a +large section of shoji is open, giving a view of the garden. To the R. +of this entrance is a small shrine and Buddha. At L. of the room is a +sleeping mat and head rest. By the head rest a lantern, now unlighted. +Down L. is an open section of shoji leading to the_ PRINCE'S +_apartments. Just above it stands a screen. As the curtain rises the_ +PRINCE _is standing R. C. looking out into the garden._ RUITEN _is down +R. and_ BUZEN _slightly above him._ BUZEN _crosses L._ + + + PRINCE. [_Comes down between_ RUITEN _and_ BUZEN.] + Settle for me tonight + My sicknesses and my fears-- + [_To_ BUZEN.] Settle them for me, + Sir Buzen, councillor crafty. + [_To_ RUITEN.] Settle them for me, + Priest Ruiten, the prayerful. + + RUITEN. So are we trying in all ways + Thy pain to relieve + Yet nought seems availing. + + PRINCE. Wracked is my body + With tortures unending + Born of the dreams + That are surging forever + Backward and forward + Thru my brain, weary. + + BUZEN. [_Indicating door L._] Around thy bed each night + Have I placed thy samurai + In number one hundred + To guard thy sleep-- + + RUITEN. Zealously have I prayed + In the temple called "Miyo In," + And during the night hours + Have knelt at thy house shrine + Praying to Buddha, the lord of the world. + + PRINCE. Yet have I not slept + Entirely untortured. + Slow are thy prayers + In fruit bearing. + + RUITEN. Slow because contending with evil-- + [_Approaches Prince._] + With evil in form strange and subtle. + Over this house hangs a spirit + Ne'er resting and ready always for dire deeds. + + PRINCE. Such a spirit there must be--but what? + + RUITEN. Evil takes many forms but the form of a cat + Is favored by many devils. + + PRINCE. [_Startled, the others watch him closely._] A cat--aye, truly + And if a cat stalked here + That evil thing must we kill. + + RUITEN. Yet such is their power malignant + That they take other forms than the forms of cats-- + Even human forms. + + PRINCE. Ha!--And the spirit that visits me? + Mayhap that-- + Only twice hath it failed of its visit. + + BUZEN. And those lost visits, when? + + PRINCE. The last two nights. + + BUZEN. [_Swelling with pride._] Then, oh Prince, the cure may + be found. + Better than prayers is the cure [_Eyeing_ RUITEN.] + For prayers have not ears--have not eyes-- + Have not weapons--better than prayers is it. + + PRINCE. Tell me this cure. It is grudged, Sir Priest? + + RUITEN. [_Bowing._] A cure for my lord could not be grudged. + + PRINCE. Well spoken. Say on, Sir Buzen. + + BUZEN. First I must beg clemency + For thy hundred samurai + For faithful they are to the bone, yet-- + + PRINCE. Yet? Why clemency? For what? + + BUZEN. On guard, they slept. + + PRINCE. Slept? + + BUZEN. Aye. Soundly as though deep in saki. + + PRINCE. And none roused? + + BUZEN. They were as dead + From shortly after the hour of ten + Until dawning. + Awakening they knew they had slept + Yet knew not when the poppy was thrown in their eyes. + Even as one man none knew + And were deep amazed and full of shame. + Each night it was the same. + + PRINCE. [_Angrily._] So, they slept. + While I, on my couch, + Through the hours writhed-- + Writhed and twisted-- + Weakening ever-- + Not sleep, yet dreaming-- + Oh, horrible dreams. + + RUITEN. Of what were these horrible dreams? + What was their substance? + + PRINCE. [_Mystified at the memory._] There would come a soft + stealing-- + As of draperies hushed and lifted + For silence in walking; + Like soft, silken draperies + Wrapped about stealthy limbs. + Then a shape clothed for sleep + As women are clothed-- + Sinuous and vague in movement, + Then taking form slowly-- + The form--a lie!--a lie! [_Covers his face and goes upstage._] + + RUITEN. The form? + + PRINCE. [_Turns._] O Toyo! + + RUITEN. + BUZEN. [_Rubbing their hands._] Ah! + + PRINCE. [_Comes down R._, RUITEN _and_ BUZEN _are together a + little L._] + Came she to me-- + Leaned o'er me-- + Caressed me + Yet soothed not. + Her lips to mine-- + Her lips but not sweet. + Then here on my throat + Would she place them + And all my life seemed to smother-- + Out of me flowed the life-blood + In a deep stream + Like a tide + Forced by the gods, + Against its will, + To flow far away and yet farther. + + BUZEN. So does a vampire + Sucking her victim + Draw from him + His blood and his marrow. + + PRINCE. Guard thy words!-- + As my strength ebbed + She drew back + Red-lipped and smiling, + Smiling and laughing + Though her laughter was silent. + Then with a final shimmer + Of silent silks she vanished-- + So was it done. + + RUITEN. So always the dream? + If dream it were. + + PRINCE. The dream--I think yet it was a dream-- + So was it always. + + BUZEN. But the last two nights? + + PRINCE. Came she as usual + Flowing over the floor + Like a spectre enrobed + And beautified. + But as she bent o'er me + She paused as if startled + And, slowly gazing about, + Turned and was gone. + Last night she paused + As if speaking to someone + Though I could see no one. + + BUZEN. But the cause of her turning? + + RUITEN. Turned she startled-- + Turned she slowly-- + Turned she wonderingly? + + PRINCE. Slowly, as if she felt + A strange presence. + + RUITEN. Feared she? + + PRINCE. She left me. + + BUZEN. But trembling or calm? + + PRINCE. Calmly, as from a thing hated + And more powerful than she + Whom she would not rouse to action. + + BUZEN. [_Rubbing his hands._] Good. + + PRINCE. What is good? + + BUZEN. That which thou speakest of. + + PRINCE. How so? + + BUZEN. [_Comes forward towards the Prince._] It proves that I have + humbly succeeded-- + [_Grudgingly._] Through the help of another, 'tis true-- + But yet succeeded in bringing my lord honorable help. + + RUITEN. Indeed it is so. + + PRINCE. Say on, very wise councillor. + + BUZEN. [_Puffing up._] Without more words than are fit + This then is the way of the cure. + When long had thine illness ravaged and worn thee + And many nights had you tossed by weird visions enthralled, + No cures affecting, no prayers availing thee [_Glances at_ RUITEN.] + Then councilled I with thy wise ones-- + And, too, with Priest Ruiten-- + + RUITEN. I, you should name first, + For without my prayers your wisdom was nought. + + BUZEN. To continue briefly. + All our heads together brought no solution-- + + PRINCE. True, true. + + BUZEN. [_Bowing._] Humbly I acknowledge my head + Empty and brainless. + Yet even from idiots lips + Wisdom oft falls unexpected + And therefore more wonderful. + Now it is told in old tales + Of how Iyaiyasu met-- + + RUITEN. Short, abrupt is thy tale. + + PRINCE. The cure, Sir Buzen, + The hour passes. + + BUZEN. [_Bowing._] I crave honorable leniency. + To be brief-- + + PRINCE. Aye, brief. + + BUZEN. Discouraged and sick at heart + At the sufferings of my great lord, + I was retiring to my room + By way of the garden + And the hour was the Hour of the Fox. + I heard a splashing in the pool + And drawing near + Saw a young soldier washing. + I spoke to him asking, + "Who art thou?" + "Retainer to my Lord Nabeshima, + Prince of Hizen," he answered. + Then talked I with him. Of thy sickness + We talked. And he was ashamed of thy samurai's sleeping. + He begged to be allowed to guard thy sleep + Also for, being a common soldier, it was not permitted. + So earnestly talked he that I promised to consult + With the other councillors and see what could be done. + "So tell me your name, young sir," I said. + "Ito Soda is my name, honorable sir, + And for your kind words I thank you." + So I consulted and the result was + We granted his request. + + PRINCE. And he, too, has watched the two nights past? + + RUITEN. Aye, and he slept not + Though the samurai were heavy with sleep-fumes. + + BUZEN. I will tell. + + RUITEN. [_Elbows_ BUZEN _out of the way and comes forward._] You + are honorably hoarse. + He slept not, as I say-- + + PRINCE. How kept he awake? + Since many slept spell-bound + How broke he the spell? + + RUITEN. With him he brought + Oiled paper and laid it + Down on the matting + Sitting upon it. + When o'er his eyes sleep stole + And wearily weighted them + He drew out his sharp dirk + And in his thigh thrust it + By pain driving the poppy fumes off. + Ever and again he twisted + The dirk in the raw wound + And the thick blood-drops + Soiled not the matting + Because of the oiled paper. + + PRINCE. Indeed this is no common soldier, + This Ito Soda. + + BUZEN. Indeed not-- + + RUITEN. To continue--[_Retires upstage, disgruntled._] + + BUZEN. [_Pushing forward._] As I was saying, oh Prince, + His eyes never closed. + During the Reign of the Rat + He heard, in this room, O Toyo + Tossing and moaning + As if in great fear of something + She could not escape from. + Even at the same moment + As the beginnings of her moanings + Came a cat-call from the garden-- + Then nearer--then ghostly paddings + As of padded claws on matting, + And an evil presence seemed hovering + And lurking near in the darkness. + O Toyo gave a low scream--than all was silence. + Soon she came stealthily + Through the shoji--cat-like her step-- + Glassy her eyes-- + Claw-like her hands-- + Bent she over you with curled lips-- + Then she turned, even as you have said, + And, seeing a waking watcher, + Left as she came. + + RUITEN. [_Comes down._] The second night of Ito Soda's watching + She threatened him in low words + But he made as to stab her + And she melted before him + Laughing a little. + And he heard the rustle of her garments + As she regained this room + Though he saw not her passage hither. + + PRINCE. Thicker with each word the horror about me. + [_Turns away to R._] Doubts to beliefs--beliefs to actions-- + Love unto hate. [_Turns to them almost pleadingly._] + Tell me it is not O Toyo. + + BUZEN. I questioned her maid, Kashiku, + And found that O Toyo's couch + Was empty even at the time + Of the weird visit to thee. + + PRINCE. [_Overwhelmed._] So, it was O Toyo! + In the soul of a flower, a demon-- + On the sweet lips, poison. + + BUZEN. There is only one course-- + + RUITEN. The one road-- + + PRINCE. And I take it! + + BUZEN. [_Moves toward door L._] The samurai are gathered. + + PRINCE. Summon Ito Soda. [BUZEN _exits L._] + + RUITEN. Hard is the fate of man + Here on this dark earth. + Many the shapes and the shadows + Stalking abroad. + Yet ever the gentle Buddha + From the Lotus Fields watches + And guards every life that lives. + + PRINCE. [_Puts one hand on_ RUITEN'S _shoulder._] Priest, have + not many + Vampires bleeding them + And dream it is another thing? + + RUITEN. The soul is often a vampire to the body. + + PRINCE. And that evil thing must we kill. + + ITO SODA. [_Enters L., kneels before the_ PRINCE. RUITEN _takes up + R. a little and_ BUZEN _re-entering after_ ITO SODA _goes up C._] + Honorable Prince, humbly I answer thy summons. + + PRINCE. Rise, Ito Soda. + Faithful beyond words art thou, + This know I as all hath been told me. + No longer call thyself a common soldier + But a samurai of the Prince of Hizen. + And the two swords will I give thee on the morrow. + + ITO SODA. On my knees I humbly thank thee. [_Rises._] + + PRINCE. Now time presses. + O Toyo will be coming + In from the garden. + As usual shall the hundred sleepy samurai + Guard my couch. Let Ito Soda + Remain here hidden and watchful. + When O Toyo rises to enter my chamber-- + Your dirk is sharp, Ito Soda? + + ITO SODA. [_Draws dirk._] As a moonbeam on a cold night. + + PRINCE. And you know how to use it. + + ITO SODA. I will place this screen, thus. [_Goes to screen L. + and opens it so as to form a hiding place between the sleeping + mat and the door L._] + So will I wait the moment. + + PRINCE. So be it. It is a good plan + And on the one road. Let us about it. [_Exits L. followed + by_ BUZEN _and_ RUITEN. ITO SODA _goes behind the screen._ + O TOYO _is heard singing in the garden._] + + O TOYO. [_Outside._] Moonlit convulvus + Through the night hours + Wan are their faces + Ghostly sweet. + + Richer by daylight + Drinking of sunshine + As thirsty souls drink + At a shrine. + + Fair are the faces + Glassed in the quiet pools + Maidens low-bending + Vain ones. + + [_The singing stops abruptly._] Kashiku, is not that a cat + Stealing stealthily there? + She snarls--quick--[O TOYO _enters B. C. quickly and very + frightened, turns and looks back, hurries_ KASHIKU _in._ + KASHIKU _follows much less disturbed at any fear of a cat + than over her mistress' fright._] + + KASHIKU. [_Shuts the shoji R. C. and comes to_ O TOYO.] You are + all atremble. + + O TOYO. Quick, let me be safe in slumber. [_Crosses to dressing + table._] + + KASHIKU. [_Follows her and attends to her hair while_ O TOYO + _kneels before the glass._] Several nights lately have I + heard my lady moaning + As though even in sleep were she troubled. + The worry over your honorable lord hath disturbed thee. + + O TOYO. Your ears are over keen. + I am happy when I sleep. + How can I moan, being happy? + You are dull. + + KASHIKU. Perhaps it was the wind or the echo of my lord's moaning. + + O TOYO. Moaning or was it singing? + I would it were singing + For singing is sweeter + On the lips of those dying. + + KASHIKU. Dying? + + O TOYO. When those whom we love are passing-- + Even under our hands are passing-- + And our love weans them from life + And our kisses suck out the blood-life, + Then would we touch them no more, + Then would we kiss them no more, + But a power greater than we + And a power that we fear + Forces us on in our love-killing. + + KASHIKU. There is in your voice a vibration, as even the winds in + the pine-tops + When, in the autumn, they echo the summer's death-song; + There is in your eyes a strange light as if the soul of another + Looked out from your curtaining lashes and dimmed the sweet light + there abiding. + Oh, mistress, surely you are different than what you once were. + + O TOYO. [_Crosses C. slowly._] Even now comes the hour and the + struggle + And I do the bidding of that which is in me. + How I hate the feel of his flesh + Quivering under my lips + And the loathsome taste of the blood-drops + Thick on my lips that would soothe him and cannot. + + KASHIKU. Can anything soothe more than thy lips, + More than the lips that love him? + I cannot understand the words of your saying. + You are happy and tearful all in a moment, + Your soul seems a sky full of sunshine and clouds. + [_Coming to her._] Even now as my hand touches you, you are + trembling. + Is it the cat that crept upon us + Whose shape still affrights you? + + O TOYO. Thou hast said it--My soul is as thou sayest. + My dreams are sweet and again bitter. + Once came a dream horrible above all dreams. + + KASHIKU. What dream, my lady? + + O TOYO. The night when you found me there on the floor. + Do you remember? + + KASHIKU. Well. You were all distraught and the bosom of your gown + Was torn open and you clutched your throat + As if you were wounded there. But there was no mark. + And you let wild words fall from your lips + And none knew their meaning. + + O TOYO. The Prince and I walked in the garden + And there at the shoji I left him. + As I entered + There entered + With me a spirit + And its breath fell upon me-- + Dumb my tongue in my mouth + And frozen my marrow. + Suddenly it leapt upon me + And as I fell downward + Flashed the spirit into mine eyes-- + A cat, two-tailed and hairy-- + And it's teeth sank in my throat here-- + Can you see a mark? [_Exposes her throat to_ KASHIKU.] + + KASHIKU. The skin is as smooth as satin and perfect. + + O TOYO. Then came darkness upon me--and so you found me. + So strong is the dream within me + I wonder if it be a dream or no. + + KASHIKU. You had walked that evening in the garden. + + O TOYO. I had rather dreamed I walked--say I dreamed it. + + KASHIKU. The Prince was with-- + + O TOYO. Yet it was a dream, question it not. + I would go to rest peacefully. + He, too, shall rest peacefully-- + I shall not kiss my lord tonight. [_Crosses L._] + + KASHIKU. Not kiss him? + + O TOYO. I think not I shall kiss him. + I would not pain his slumbers-- + He has paled so and his face is so thin. + In the night he lies like a strong flower + And a strange flower, bled of its life-- + Like a strong flower weakened. + And at its sight my dreams are bitter. + But as I gaze a change comes over all things + And I hold in my hands a beautiful flower + Which I kiss with my lips + Holding my lips long to it, + Draining its sweetness. + And a cloud passes over + And on my lips are clots of blood! + + KASHIKU. Such dreamings are not good. + I find the silken coverlets tossed in the morning, + Twisted and thrown about as if you slept ill. + + O TOYO. It is not O Toyo who tosses them-- + It is the dream O Toyo. + + KASHIKU. Two nights lately have I imagined you called to me + But entering you were not here--but there with your lord soothing + his sufferings. + + O TOYO. Drinking at strange fountains and unknown springs-- + Drinking of sacred waters sacred to unknown gods. + And as I drink another life becomes my life + And he is mine--utterly mine, at last! + + KASHIKU. You frighten me-- + + O TOYO. Be not frightened--you have no need. + Now I shall sleep. + He, too, is sleeping. Perhaps--perhaps he is suffering. + Shall I touch him with my hands? + Perhaps he is hungry for my kisses-- + Shall I kiss him? + + KASHIKU. It were a fitting thing to kiss thy lord. + + O TOYO. You know not what you say, Kashiku. + + KASHIKU. My lady-- + + O TOYO. You have not heard me say strange things, Kashiku. + + KASHIKU. I have heard-- + + O TOYO. Nothing. + + KASHIKU. Nothing, my lady. + + O TOYO. Put out the lamps. [KASHIKU _blows out candles on + dressing table_.] + Go now, Kashiku, and do you sleep deeply, + Breathing poppies. + + KASHIKU. My lady-- + + O TOYO. Go. [KASHIKU _opens shoji R. and goes out shutting it + after her_. O TOYO _crosses, too, and lies on the sleeping + mat. The room is almost in total darkness._] + + O TOYO. I shall kiss him--I shall kiss him! [_The lantern at + the head of the sleeping mat glows more and more brightly + until a cat's head appears on it. At this moment a cat-call + comes from the garden._ (NOTE.--If these effects cannot be + gotten with no hint of the ludicrous, have the lantern glow + with increasing light but use no cat's head or cat call.) + _With the increase of light_, O TOYO _has begun to moan and + toss and at the moment of the cat-call she rises as in a + trance and goes towards the door L. As she passes the screen_ + ITO SODA _steps out from behind it and plunges his dirk into + her back; she falls with a little, stifled cry. Instantly, in + utter darkness, the curtain falls._] + + +END OF THE PLAY. + + + + +Hageman's Make-Up Book + + By MAURICE HAGEMAN + Price, 25 cents + + +The importance of an effective make-up is becoming more apparent to the +professional actor every year, but hitherto there has been no book on +the subject describing the modern methods and at the same time covering +all branches of the art. This want has now been filled. Mr. Hageman has +had an experience of twenty years as actor and stage-manager, and his +well-known literary ability has enabled him to put the knowledge so +gained into shape to be of use to others. The book is an encyclopedia of +the art of making up. Every branch of the subject is exhaustively +treated, and few questions can be asked by professional or amateur that +cannot be answered by this admirable hand-book. It is not only the best +make-up book ever published, but it is not likely to be superseded by +any other. It is absolutely indispensable to every ambitious actor. + + + CONTENTS + + Chapter I. =General Remarks.= + + Chapter II. =Grease-Paints, their origin, components and use.= + + Chapter III. =The Make-up Box.= Grease-Paints, Mirrors, Face + Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, + Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, + Wig Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' + Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. + + Chapter IV. =Preliminaries before Making up; the Straight + Make-up and how to remove it.= + + Chapter V. =Remarks to Ladies.= Liquid Creams, Rouge, Lips, + Eyebrows, Eyelashes, Character Roles, Jewelry, Removing + Make-up. + + Chapter VI. =Juveniles.= Straight Juvenile Make-up, Society + Men, Young Men in Ill Health, with Red Wigs, Rococo Make-up, + Hands, Wrists, Cheeks, etc. + + Chapter VII. =Adults, Middle Aged and Old Men.= Ordinary Type + of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and + Healthy, Old Age, Ruddy Complexions. + + Chapter VIII. =Comedy and Character Make-ups.= Comedy Effects, + Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. + + Chapter IX. =The Human Features.= The Mouth and Lips, the Eyes + and Eyelids, the Nose, the Chin, the Ear, the Teeth. + + Chapter X. =Other Exposed Parts of the Human Anatomy.= + + Chapter XI. =Wigs, Beards, Moustaches, and Eyebrows.= Choosing + a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, + Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, + Wool, Beards for Tramps, Moustaches, Eyebrows. + + Chapter XII. =Distinctive and Traditional Characteristics.= + North American Indians, New England Farmers, Hoosiers, + Southerners, Politicians, Cowboys, Minors, Quakers, Tramps, + Creoles, Mulattoes, Quadroons, Octoroons, Negroes, Soldiers + during War, Soldiers during Peace, Scouts, Pathfinders, + Puritans, Early Dutch Settlers, Englishmen, Scotchmen, + Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South + Americans, Scandinavians, Germans, Hollanders, Hungarians, + Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abyssinians, + Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, + Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. + + + Address Orders to + THE DRAMATIC PUBLISHING COMPANY + CHICAGO, ILLINOIS + + + + +PLAYS + +And Entertainment Books. + + +Being the largest theatrical booksellers in the United States, we keep +in stock the most complete and best assorted lines of plays and +entertainment books to be found anywhere. + +We can supply any play or book published. We have issued a catalogue of +the best plays and entertainment books published in America and England. +It contains a full description of each play, giving number of +characters, time of playing, scenery, costumes, etc. This catalogue will +be sent free on application. + +The plays described are suitable for amateurs and professionals, and +nearly all of them may be played free of royalty. Persons interested in +dramatic books should examine our catalogue before ordering elsewhere. + +We also carry a full line of grease paints, face powders, hair goods, +and other "make-up" materials. + + +The Dramatic Publishing Company + +CHICAGO + + + + + +End of the Project Gutenberg EBook of The Vampire Cat, by Gerard Van Etten + +*** END OF THE PROJECT GUTENBERG EBOOK 40120 *** |