hat and coat and whiskers and pieces of rope in L. 3 E. for Adolphus. Switch in L. 3 E. for Coriolanus. Pistol and baby dress for Dollerclutch. Large wallet containing two special papers, etc.; also, six letters for Ralph to bring on. Cloak in tent L. 4 E. for Dollerclutch, and one in tent L. 5 E. for Reginald.

Act IV.—Scene 1.—Pen, ink and paper on table. Knitting and letter for Anastasia. Scene 2.—Cloak and two special papers and baby dress for Dollerclutch. Scene 3.—Candles on table. Letter for Adrienne. Ring for Dollerclutch.

Act V.—Map on table for officers. Bundle containing letter and envelope, with blackened paper and bullet in it, for Coriolanus to bring on. Seal ring and Ralph Murdell’s left shoulder strap for Dollerclutch. Revolver at prompt R. 2 E. Two handkerchiefs for Adolphus. One handkerchief for Ralph.

SCENERY.

ACT I.

Scene 1.—Dollerclutch’s Office in 4th Grooves.

C. door in flat. Door, R. 4 E. Fireplace, L. 3 E. Window, L. F. and L. 4 E. Book-case against R. F. Hat-rack, R. 3 E. Desk and chair, L. C. Table and chairs, R. C.

Scene 2.—A Wood-pass in 2d Grooves. Sign on tree, R. F.—“Beware! Do not disturb the Deer. Wm. Lowville.”

Scene 3.—(Entire Stage.)—Grounds adjoining Wm. Lowville’s Mansion. Illuminated by colored lamps. Flat in 5th Grooves representing a terrace. The wings represent trees.

Fountain, statuary, flower urns, iron chairs, trees, etc. Rustic benches, R. 3 E. and L. 2 E.

Act II.

Scene 1.—Sitting Room in the Maitland Cottage in 4 G. Plainly but substantially furnished. Scene backed by wood-scene in 5 G. Time, evening. Moonlight effect back of 4 G.

Large open window, C. of F. Glass doors, R. and L. F. Doors, L. 2 E. and R. 3 E. Fireplace, L. 3 E. Table and chairs, L. C. High-back chair, R. C. Old-fashioned clock, R. 4 E.

Scene 2.—Street Scene in 1 G.

Scene 3.—(Entire Stage.)—Outside of Maitland Cottage. Backed by wood-scene in 5 G. Plain cottage, with ivy and roses, on left. Time, morning.

Picket fence, with gate in C., in the background. Rustic bench against tree, R. C.

ACT III.

Camp Scene.—(Entire Stage.)—Scene representing a rocky ravine.

High set rock, L. 5 E. Cannon and cannon balls, L. 5 E. Tent, C., near flat. Tent, R. 5 E. and L. 4 E. Camp stools, R. C. 4 E., R. 4 E., R. 2 E., R. C. 2 E., L. 2 E. Camp-fire, R. C. 4 E. Stack of guns, R. 3 E.

ACT IV.

Scene 1.—(Same as 1st Scene, 2d Act, with addition of child’s crib, L. 4 E.) Time, morning. Sunlight effect back of 4 G.

Scene 2.—Wood-pass in 1 G. Time, night.

Scene 3.—(Same as 1st Scene.) Time, night. Moonlight effect back of 4 G.

ACT V.

Camp Scene.—(Same as Act 3d, with addition of table and three camp stools R. 2 E.)

STAGE DIRECTIONS.

The player is supposed to be facing the audience. C., centre. R., right. L., left. R.C., right of centre. L.C., left of centre. D., door. R.D., right door. L.D., left door. C.D., centre door. F.D., door in flat. R.F.D., door in right flat. L.F.D., door in left flat. 1 E., first entrance. 2 E., second entrance. U.E., upper entrance. 1 G., first groove. 2 G., second groove.

R. R.C. C. L.C. L.

NOTE.

The character of Coriolanus Wellington, to carry out successfully the idea of the author, should be played with an extreme degree of solemnity, so as to appear ludicrous. His action should be of the lofty and dignified order, but greatly overdrawn, and he should be decidedly mechanical in his movements and gestures.

By Force of Impulse.

ACT 1.

Scene 1: Dollerclutch’s Office.

Enter Dollerclutch, D. R. 4 E., with lawyer’s bag. He empties his pockets of papers, etc., on desk, L. 3 E., while speaking.

Dol. Now if that isn’t confoundedly provoking, I’d just like to know what is. There I’ve been on a ninety-mile journey; and what did I gain? Nothing, absolutely nothing, and just to think of throwing away so much money for railroad travel, only to have the satisfaction of knowing that you have added to the pile of monopoly and have nothing in return. Confound these railroad companies anyhow! Honest people subscribe to the stock and build them; then come along these “stock jobbing sharks,” who corner the stocks and put the road in their vest-pockets. And they call that business; but it’s only another name for d—n robbery. But where is that confounded Coriolanus? [Calls.] Coriolanus! Coriolanus! Just like the rascal. Whenever you want him, nowhere to be found. When he is about, what good is he with his stuck up manners and airs? Thinks himself born to fill a higher sphere in life. But the only thing he’s good for is to stand him in the entry and use him for a hat rack. Confound him anyhow! [Calls.] Coriolanus! [Listens.] Where the deuce can he be? To gratify him I answered an advertisement for a position, which, he says, would be more suitable for his intellectual and genteel qualities—and, if it is only successful I shall be well rid of the rascal. [Picks up letter.] Hello! just the thing, by jingo! [Reads.] “Terms satisfactory. If convenient come at once. The position is man-servant; but, as I am away at business during the day, I want a reliable and intelligent person to supervise the work about the premises, and be a protector to the females.” That will just please him, and it will just please me to get rid of him. [Coriolanus puts his head in C. door.]

Cor. Was I mistaken, or did the sound of your voice penetrate the cavity of my ear?

Dol. Did I call? Well, if that ain’t cool! Call? Of course I did!—and why the deuce didn’t you come immediately?

Coriolanus