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Sir P.-And you prophesied right; and we shall now be the happiest couple

Lady T-And never differ again?

Sir P.-No, never!-though, at the same time, indeed, my dear Lady Teazle, you must watch your temper very seriously; for in all our little quarrels, my dear, if you recollect, my love, you always begin first.

Lady T-I beg your pardon, my dear Sir Peter; indeed, you always gave the provocation.

Sir P.-Now see, my angel! take care-contradicting isn't the way to keep friends.

Lady T.-Then don't you begin it, my love!

Sir P.-There, now! you-you are going on. You don't perceive, my love, that you are just doing the very thing which you know always makes me

angry.

Lady T-Nay, you know if you will be angry without any reason, my dear—

Sir P.-There! now you want to quarrel again.

Lady T-No, I am sure I don't. But if you will be so peevish—

Sir P.-There now! who begins first?

Lady T-Why, you, to be sure. I said nothing. But there's no bearing your temper.

Sir P.-No, no, madam; the fault's in your own temper.

Lady T.-Ay, you are just what my cousin Sophy said you would be.

Sir P.-Your cousin Sophy is a forward, impertinent gypsy.

Lady T-You are a great bear, I'm sure, to abuse my relations.

Sir P-Now, may all the plagues of marriage be

doubled on me if ever I try to be friends with you any more!

Lady T-So much the better.

Sir P.-No, no, madam; 'tis evident you never cared a pin for me, and I was a madman to marry you—a pert, rural coquette, that had refused half the honest squires in the neighborhood.

Lady T.—And I am sure I was a fool to marry you— an old dangling bachelor, who was single at fifty, only because he never could meet with any one who would have him.

Sir P.-Ay, ay, madam; but you were pleased enough to listen to me; you never had such an offer before.

Lady T-No! didn't I refuse Sir Tivy Terrier, who everybody said would have been a better match? for his estate is just as good as yours, and he has broke his neck since we have been married.

Sir P.-I have done with you, madam! You are an unfeeling, ungrateful-but there's an end of everything. I believe you capable of everything that is bad. A separate maintenance! Yes, madam, a separate mainte nance! I'll make an example of myself for the benefit of all old bachelors.

Lady T.-Agreed! agreed! And now, my dear Sir Peter, as we are of a mind once more, we may be the happiest couple-and never differ again, you know-ha! ha ha! Well, you are going to be in a passion, I see, and I shall only interrupt you. So, by, by. [Exit.

Sir P.-Plagues and tortures! Can't I make her angry either? Oh! I am the most miserable fellow! But I'll not bear her presuming to keep her temper. No, she may break my heart, but she shan't keep her temper.

SHERIDAN.

TABLEAUX.

I.

THE VILLAGE CHOIR.

Two lads and two lassies dressed in old style, standing with their note books in their hands, their mouths open in a most sanctimonious manner.

II.

REVERIES OF A BACHELOR.

The old bachelor sits in his easy chair, a handsome fellow, in dressing-gown and slippers. To the right or left, and in the rear, should be placed the frame of a pier mirror, behind which his visions must glide. First his early love, the girl of twelve years; second, the country lassie of sixteen; after these, the soft-eyed Italian girl, the broad-shouldered Hebe of Germany, the fashionable city girl, and, finally, the woman of his mature love, in bridal dress and veil. At this point the bachelor starts up transfixed, the curtain drops quickly, and when it rises he too is standing behind the frame, in dress coat and suit, with the blushing bride, indicating by the attitude that the ceremony of marriage is about to be performed.

III

THE MOTHER OF THE GRACCHI.

CORNELIA.-Roman matron's dress, white sundals; a small white tiara upon the head, under which the white hair is parted and drawn straight back in classic style. THE GRACCHI.-Two boys of about ten and twelve years of age; they wear the Roman sacque belted at the waist, with low neck and short sleeves; legs bare; white sandals; curly white wigs.

Upon a raised white platform sits Cornelia in an ample arm-chair, covered with white; she faces the audience directly.

Her right arm rests about the waist of the elder boy, who stands watching his mother, with his profile toward the audience. Cornelia's left hand encircles the waist of the younger boy, whose body is turned toward the audience, though his face is thrown off to the right, as if in the act of listening.

If music be introduced it should be martial or heroic music.

IV.

TWO BLIND BEGGARS.

Two BEGGARS.-Make up like old men; ragged clothes, old hats and crutches at side; card on each of their breasts with the word BLIND distinctly marked; tin cups in their hands.

LADY.-In handsome street dress; with purse.

The beggars are seated side by side in centre of stage, a little back; their eyes are closed, their expression is piteous, and they hold out the tin cups toward the lady, who stands on right, opening her purse.

The second scene discovers the beggars sitting opposite each other, their eyes open, their placards thrown over their backs, and they playing cards. The trick lies on the stage, and one of them is in the act of picking it up with a cunning smile on his face. The other man holds his cards and looks annoyed. Very sad music.

V.

SNOW-BIRDS.

THREE LITTLE GIRLS about six or eight years old, should be clad in winter dresses of dark material trimmed with fur; muffs, fur caps, and red stockings. The picture should present the snow-birds huddled together in a group in the centre of the stage. The dresses, which should be alike, must be amply flecked with bits of white paper, in imitation of snow. A clump of evergreens behind should be powdered with white cotton. Stage must be covered with white cloth. Soft music, if any.

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