What we have to do is to raise and direct it; never to let it occupy too much time, nor to become the business of life; never to let it infringe upon duties; never to allow it to lead us into an unreasonable, and, therefore, criminal expense. Our ancestors were content to strew their stage at the end of their halls with rushes, and to hang up the name of the scene, instead of a scene, before each act. The best preparations, which generally render private theatricals both laborious and expensive, add but little to the pleasure of the beholders, whose attention is fixed upon the actors, and who can always see far finer scenes at a minor theatre than at any private theatricals. Were we content with greater simplicity in our amus.e.m.e.nts, how much vain ostentation, heart-sickening expense, self-recrimination, and trouble, might be avoided!

As a valid objection to private theatricals, it has been urged that they are apt to encourage a taste for the green-room of the public theatre in young men and boys; in women the risk is less, for few women are ever known to go on the stage except from necessity. I own this objection to theatricals is the greatest that can be urged. It can only be answered in mitigation that, where there exists a taste of the kind, it is better that it should be indulged at home, instead of at the theatre, with the modest inmates of a well-governed house, instead of with professional actors. Like all other amus.e.m.e.nts, the abuse is probable, but the power of restraint rests within ourselves.

Under the same head as private theatricals may come dramatized charades and proverbs, so much in fashion at the present time. These last have some great advantages over the standard plays; they are better suited to a parlor; they do not provoke comparison between the young actors, and the favorite public idols; they require but little scenery and arrangement; they are short; and they do not require so many subordinate characters.

Impromptu charades and proverbs are delightful, and are the occasion for much merriment; the mistakes, the absurd contrasts between character and costume, the scenery--a deep, hanging wood, the court of Louis Quatorze or the deck of a man of war, being improvised at a moment's notice, only add to the merry enjoyment.

One rule you must observe if you join in these amus.e.m.e.nts: never to carry your gayety into romping. Merry and laughing you may be, yet never forget you are a lady. You may personate a newly-caught Irish chambermaid, use the broadest brogue, wear the commonest dress, throw yourself heartily and thoroughly into the part, losing your personal ident.i.ty almost entirely, and yet you may retain that nameless charm, which will place you in the mind of each of the audience as a lady of refinement.

You must also be perfectly good-natured and self-sacrificing; ready to play the smallest parts with the same interest you would throw into the princ.i.p.al ones. Try to throw out all the good points in the parts taken by the other members of the company. If you play an insignificant part, play it well, with all the grace you can, make the most of it, but do not try to raise it to the first place. Yield gracefully the prominent position to those who claim it in the plot of the play, and never try by conspicuous dress or by play, to go beyond the position set down for you.

Another delightful accomplishment, and one which will aid you if you are studying drawing and painting, is that of arranging _tableaux vivants_.

Mrs. Severn gives the following hints upon this subject:

"Perhaps there is no intellectual amus.e.m.e.nt in fashionable life, the nature of which is so little understood, as the _tableau vivant_; it being generally considered as only a vehicle for display, whereas its real purpose is to arrange scientifically a combination of natural objects, so as to make a good picture according to the rules of art.

"A _tableau vivant_ is literally what its name imports--a living picture composed of living persons; and, when skilfully arranged and seen at a proper distance, it produces all the effect of a real picture. It is said, that the first living picture was contrived by a profligate young German n.o.bleman, who having, during the absence of his father, sold one of the celebrated pictures belonging to the old castle, which was an heir-loom, to conceal the deficiency, placed some of his companions behind the frame, so as to imitate the missing picture, and to deceive his father, who pa.s.sed through the room without being conscious of his loss.

"A _tableau vivant_ may be formed in two ways: it may consist of a group of persons, who take some well-known subject in history or fiction to ill.u.s.trate, and who form a group to tell the story according to their own taste; or, it may be a copy, as exact as circ.u.mstances will permit, of some celebrated picture. The first plan, it may be easily imagined, is very rarely effective; since, as we find that even the best masters are often months, or even years, before they can arrange a group satisfactorily on canvas, it is not probable that persons who are not artists should succeed in making good impromptu pictures. Indeed, it has been observed, that artists themselves, when they have to arrange a _tableau vivant_, always prefer copying a picture to composing one.

"Copying a real picture, by placing living persons in the positions of the figures indicated in the picture, appears, at first sight, an easy task enough; and the effect ought to be easily attained, as there can be no bad drawing, and no confused light and shade, to destroy the effect of the grouping. There are, however, many difficulties to conquer, which it requires some knowledge of art to be aware of. Painting being on a flat surface, every means are taken to give roundness and relief to the figures, which qualities of course are found naturally in a _tableau vivant_. In a picture the light is made effective by a dark shadow placed near it; diminished lights or demi-tints are introduced to prevent the princ.i.p.al light appearing a spot; and these are linked together by artful shades, which show the outline in some places, and hide it in others. The colors must also be carefully arranged, so as to blend or harmonize with each other. A want of attention to these minute points will be sufficient to destroy the effect of the finest picture, even to those who are so unacquainted with art as to be incapable of explaining why they are dissatisfied, except by an involuntary liking or disliking of what they see.

"The best place for putting up a _tableau vivant_ is in a door-way, with an equal s.p.a.ce on each side; or, at least, some s.p.a.ce on both sides is necessary; and if there is a room or a pa.s.sage between the door selected for the picture and the room the company is to see it from, so much the better, as there should be a distance of at least four yards between the first row of the spectators and the picture. It must be remembered that, while the tableau is being shown, nearly all the lights must be put out in the room where the company is a.s.sembled; and, perhaps, only one single candle, properly placed, in the intervening s.p.a.ce between the company and the tableau, must be left slightly to illuminate the frame. In the above-mentioned door-way a frame, somewhat smaller than the original picture, must be suspended, three, four, or even five feet from the floor, as may suit the height of the door; or, if the door is not very high, the frame may be put one or two feet behind, to gain s.p.a.ce; but care must be taken to fill up the opening that would, in that case, show between the door-way and the frame; also a piece of dark cloth ought to be put from the bottom of the frame to the ground, to give the appearance of the picture hanging on the wall.

The most important thing is, that the chairs or tables ought to be placed behind the frame, so that the persons who are to represent the tableau may sit or stand as nearly in the position, with regard to the frame, as the figures appear to do in the real picture they are trying to imitate, and at about two feet from the frame, so that the light which is attached to the back of the frame may fall properly on the figures. In order to accomplish this, great study and contrivance are required, so that the shades may fall in precisely the same places as in the original picture; and sometimes the light is put on one side, sometimes on the other, and often on the top; and sometimes shades of tin or paper are put between the lights and the tableaux, to a.s.sist in throwing a shadow over any particular part. The background is one of the most important parts, and should be made to resemble that of the picture as nearly as possible; if it is dark, coa.r.s.e cloth absorbs the light best; but whether it is to be black, blue, or brown, must depend on the tint of the picture; should the background be a light one, colored calico, turned on the wrong side, is generally used. If trees or flowers form the background, of course real branches or plants must be introduced to imitate those in the picture. Even rocks have been imitated; and spun gla.s.s has often successfully represented water. A thin, black gauze, black muslin, or tarlatan veil, should be fastened to the top of the frame, on the _outside_ of it, through which the tableau is to be seen.

"Care ought to be taken to conceal the peculiarities of the different materials used in the draperies, and it is even sometimes necessary to cover the stuffs used for the purpose with a gauze of a different color, so as to imitate the broken and transparent colors found in most good pictures. This, carefully attended to, will give a quietness and simplicity to the whole, which will greatly add to the illusion."

The next subject upon the list of accomplishments, should be filled by some words upon fancy sewing. Under this head will come--Crochet, Knitting, Tapestry work, Embroidery, Chenille work, Netting, Canvas work, Berlin wool work, Frame work, Braiding, Bead work, etc.

Small social gatherings will be much more entertaining, the time will pa.s.s much more quickly, and the conversation flows more freely if the fingers are employed with some light work.

Pretty presents--nay, beautiful ones--may be made in this way, when the fingers would otherwise be idle, and these will have an additional value in being the work of your own hands.

From the most remote ages needlework has been, not only a source of pecuniary advantage for poor women, but also of pleasant pastime for the rich. It is one of the most elegant of the imitative art, and from time immemorial it has been an amus.e.m.e.nt for otherwise idle fingers, from the cottage to the palace.

I have not s.p.a.ce for a long disquisition upon the uses and pleasures of fancy work; every woman has moments when such pretty playwork will be a valuable recreation. The taste for fancy work increases daily, and can be made not only ornamental, but useful. A ladies' wardrobe consists of so many, and such varied objects, that the evenings of an entire winter may be spent in making various useful garments, which are, at the same time, suitable for company sewing. Opera hoods, wool shawls, sleeves, Sontags, and other ladies' articles, may be varied by embroidering smoking caps, slippers, or handkerchiefs for gentlemen.

Embroidering on canvas, or tapestry work, opens a large field for taste and skill in execution. Beautiful articles for presents, chair covers, sofa cushions, slippers, may be worked in the otherwise idle moments spent in familiar society, and the fingers will soon acquire skill and astonishing rapidity.

The German ladies have constantly on hand a piece of netting or other fancy work, which they carry from place to place, and take out when conversing; and so far from entirely engrossing their thoughts, they chat more readily and freely with their fingers thus employed.

American ladies will find the custom worth imitating. Many tedious hours will be smoothly, pleasantly pa.s.sed, with the mind free, but the fingers pleasantly occupied.

An evening pa.s.sed in sewing or knitting, with one good reader to entertain the industrious workers, will be found very pleasant. I have known a circle of young people meet every week to work in this way, the reader being changed twice or three times in the course of the evening, and these meetings have proved so pleasant, that scarcely any member failed to plead "prior engagement" if invited out upon the evening appointed to read and sew.

It was formerly objected by the adversaries to mental cultivation in women, that the acquirement of book learning would make them neglect needlework; but so far from this being the case, the present, which is often called the age of learning, is preeminently a working age. Never were fingers more actively engaged than those of the rising female generation; braiding, embroidery, Berlin work, knitting, netting, and crochet, are all in full play. A long neglected work has been recently revived, called by the French "La Frivolite." It is very pretty evening work, partly because it does not impede conversation, for it may be carried on almost without looking at it, and partly because no other work shows to so much advantage the grace and delicacy of the hands. The most simple form of this work was anciently known under the name of Tatting, but that only consisted of a series of loops in a straight line, which were used for tr.i.m.m.i.n.g linen articles, and which was not so pretty as La Frivolite, which has varieties which are a good imitation of point, and may be used for collars and sleeves.

I give a few specimens of pretty work for evening sewing, and refer the reader to "The Ladies' Handbook of Embroidery," published by G. G.

Evans, for a full, complete description of every kind of fancy work, with specimens, patterns, and clear, plain directions.

NETTED CUFFS--These cuffs are very pretty, and easy to make. They are in plain netting, and will require white, and five shades of scarlet wool.

Set on thirty-five st.i.tches of the white wool. Net five rows, then take a mesh a very little larger, and widen by netting two st.i.tches in every st.i.tch. Then net with the smallest mesh the two lightest shades, one row of each, and two rows of the other three shades. Then graduate the shades back again to white, narrowing the first row of white with the larger mesh. Net ten rows with the smaller mesh, widen again, repeat the shades of red, narrow again, and finish with the five rows of white.

KNITTED OPERA CAP.

MATERIALS REQUIRED--Half an ounce of white and half an ounce of shaded Berlin wool will be sufficient.

Cast on a hundred st.i.tches with white wool, and knit and pearl alternately for four rows.

_Shaded wool_--Knit one row plain; next row bring forward, and take two together to the end.

_White wool_--Knit and pearl alternately four rows.

_Shaded wool_--Knit plain six rows.

_White wool_--Knit a row, decreasing it by taking the first two st.i.tches together, and the last two. Pearl a row. Knit a row, decreasing it as before. Pearl a row.

_Shaded wool_--Knit a row, decreasing at the beginning and end. Next row, bring forward and take two together to the end.

_White wool_--Knit a row, decreasing at both ends. Pearl a row. Knit a row, decreasing as before. Pearl a row.

FOR THE PATTERN IN THE CENTRE OF THE CAP.

SHADED WOOL--_1st row_--Slip one. Knit two plain st.i.tches (_a._) Wool forward. Knit one. Wool forward. Knit two together. Knit one. Knit two together. Repeat from (_a._)

_2nd row_--Pearled.

_3rd row_--Slip one. Knit two plain st.i.tches (_b._) Wool forward. Knit three plain st.i.tches. Wool forward. Slip one. Knit two together. Pa.s.s the slipped st.i.tch over the knitted ones. Repeat from (_b._)

_4th row_--Pearled.

_5th row_--Slip one. Knit two plain st.i.tches, (_c._) Wool forward. Knit two together. Knit one. Knit two together. Wool forward. Knit one.

Repeat from (_c._)

_6th row_--Pearled.

_7th row_--Slip one. Knit two plain st.i.tches (_d._) Wool forward. Slip one. Knit two together. Pa.s.s the slipped st.i.tch over the knitted ones.

Wool forward. Knit three plain st.i.tches. Repeat from (_d._)

_8th row_--Pearled. Repeat the last eight rows.

_White wool_--Knit and pearl alternately for four rows; decrease at the beginning and ending of the two plain rows.

_Shaded wool_--Knit one plain row; decrease at the beginning and ending.

Next row; bring the wool forward, knit two together to the end of the row.