The Project Gutenberg eBook of Christmas Speakin’ at Skaggs’s Skule, by Marie Irish.

MUSICAL ENTERTAINMENTS

These songs can be used in all manner of entertainments. The music is easy and both music and words are especially catchy. Children like them. Everybody likes them. Sheet music. Price, 35 cents each.

HERE’S TO THE LAND OF THE STARS AND THE STRIPES. (Bugbee-Worrell.) A patriotic song which every child should know and love. The sentiment is elevating. The music is martial and inspiring. May be effectively sung by the entire school. Suitable for any occasion and may be sung by children or grown-ups. Be the first to use this song in your community.

I’LL NEVER PLAY WITH YOU AGAIN. (Guptill-Weaver.) A quarrel between a small boy and girl. The words are defiant and pert. The boy and his dog have been in mischief, and the small maiden poutingly declares that she will never play with him again, but changes her mind in the last verse. A taking little duet for any occasion, with full directions for motions.

JOLLY FARMER LADS AND LASSIES. (Irish-Lyman.) A decidedly humorous action song prepared especially for district schools. It will make a hit wherever produced.

JOLLY PICKANINNIES. (Worrell.) Introduce this coon song into your next entertainment. If you use the directions for the motions which accompany the music, the pickaninnies will bring down the house. Their black faces and shining eyes will guarantee a “hit.” The words are great and the music just right.

LULLABY LANE. (Worrell.) This song is one which the children, once having learned, will never forget. The words have the charm of the verses written by Robert Louis Stevenson. The music is equally sweet and is perfectly suited to the beautiful words. It may be sung as a solo by a little girl with a chorus of other little girls with dolls, or as a closing song by the whole school.

MY OWN AMERICA, I LOVE BUT THEE. (Worrell.) Here is a song that will arouse patriotism in the heart of every one who hears it. The music is so catchy that the children and grown-ups, too, just can’t resist it. It makes a capital marching song.

NOW, AREN’T YOU GLAD YOU CAME? (Guptill-Weaver.) This is a closing song which is quite out of the ordinary. There is humor in every line. The music is lively. Your audience will not soon forget this spicy song for it will get many an unexpected laugh. The motions which accompany this song make it doubly effective. For any occasion and for any number of children.

WE ARE CREEPY LITTLE SCARECROWS. (Guptill-Weaver.) A weird, fascinating action song. You can’t go wrong with this song. There are four verses and chorus. Complete directions accompany this song so that it may be featured as a song and drill, if desired. For any occasion and for any number of children.

WE’VE JUST ARRIVED FROM BASHFUL TOWN. (Worrell.) This song will bring memories to the listeners of their own bashful school days. They will recall just how “scared” they were when asked to sing or play or speak. The words are unusually clever. The music is decidedly melodious. It makes a capital welcome song or it may be sung at any time on any program with assured success.

WE HOPE YOU’VE BROUGHT YOUR SMILES ALONG. (Worrell.) A welcome song that will at once put the audience in a joyous frame of mind and create a happy impression that will mean half the success of your entire program. Words, bright and inspiring. Music, catchy. A sure hit for your entertainment.

WE’LL NOW HAVE TO SAY GOOD-BYE. (Worrell.) This beautiful song has snap and go that will appeal alike to visitors and singers. It is just the song to send your audience home with happy memories of the occasion.

Paine Publishing Company Dayton, Ohio

Christmas Speakin’
at Skaggs’s Skule

By
MARIE IRISH

PAINE PUBLISHING COMPANY
DAYTON, OHIO

Christmas Speakin’ at Skaggs’s Skule

CHARACTERS

COSTUMES

Miss Elkins, Old-maid costume, much fussed up with bright colors; spectacles, hair in corkscrew curls each side of face.

Josiah Judd, Chin whiskers, colored shirt, bright tie, suit that is too large, boots, large red bandanna handkerchief.

Mrs. Skaggs and Mrs. Hill, Hair done up old style, old-fashioned wool dresses, small old-time bonnets that tie under chin, shawls.

Billy Skaggs, good-sized boy with clothes too small, waist with large ruffled collar, bright bow tie, short trousers, bright stockings.

Matildy and Florildy, Old-fashioned wool dresses, much too long, hair flowing, ribbon tied around head with bow at the top.

Rastus, Bright calico waist, trousers that do not fit, patched with bright color, face blackened.

Virgil Vane, hair parted in middle, spectacles, coat much too small, long trousers, stand-up collar.

Tilly, A small slender girl with rather long, tight-fitting dress, hair hanging in two braids.

Corabell, Good-sized girl, well padded to be fat, very short skirt, hair with big bow at each side of face.

Sarah Jane, Rather small size, dressed much too old for age, hair crimped, old-style gown.

Stage arrangement—Pupils sit on benches along back of stage; small table for teacher at one side with books, bell and long ruler. Stand with water pail and dipper, dinner pails hanging on wall, also children’s wraps; some decorations of evergreen and Merry Christmas pinned on wall in letters of various sizes and colors. Visitors sit in chairs at sides of room.

Christmas Speakin’ at Skaggs’s Skule

Teacher (tapping bell loudly)—Now, children dear, I hope you will all be very, very good and very, very quiet while we have our entertainment. What kind of an entertainment is it to be, children? (a pause) W’y, children, don’t you know what kind of an entertainment it is going to be?

Virgil—Wal, I think it’ll be a fust-rate good ’un if none of ’em don’t fergit their pieces.

Sam—W-w-w-w-w-wal, I w-w-w-w-w-won’t f-f-f-f-fergit mine if I d-d-d-d-don’t git b-b-b-b-b-bashful.

Sarah Jane—Huh, you bet you I won’t git skeered—I haint fraid o’ nothin’. I wouldn’t be skeered to speak if they was a grizzly bear here.

Teacher (tapping bell)—Children, be still. That is not a nice way to act on entertainment day. I meant what kind of an entertainment are we going to have according to the season (a pause). W’y, can’t you tell, children?

Matildy—Huh, don’t you know that? W’y, it’s salt an’ pepper an’ spice an’ stuff they put in things to season ’em.

Virgil—Aw, that haint what it means—it’s spring an’ fall an’ winter—that’s what season means, haint it, teacher?

Teacher (tapping bell)—Children, be still. I mean what kind of pieces are we going to have in our entertainment?

Teacher—Yes, children, that is right—Christmas pieces, children. Why are we going to have Christmas pieces, children? (pause).

Rastus—I reckon so’s we-all’ll git a Chris’mus present ef we does our pieces good. Mammy says as how she’s gwine gimme a mighty nice present ef I does my part good.

Sam—I t-t-t-t-think we’re s-s-s-s-s-sayin’ K-k-k-k-k-k-k-kris’mus pieces k-k-k-k-k-kawase K-k-k-k-k-k-kris’mus is the time to s-s-s-s-s-say K-k-k-k-k-k-k-kris’mus pieces.

Teacher—Yes, children, we’re going to have a nice Christmas entertainment because Christmas day is coming and we all love Christmas day, don’t we, children?

Teacher—And so, children, I hope we shall have a nice entertainment, an’ that you will be very, very good an’ speak up nice an’ loud an’ do your parts the very, very best you can (children nudge each other and point off stage as if looking out of window).

Mrs. Hill—Good afternoon, teacher. I heard as how you’re goin’ to have Chris’mus speakin’ here this afternoon an’ I says to Jeremiah, I says, I’m jes’ goin’ over to the skule house an’ hear that speakin’ ’cause as I says to ’im, says I, I do jes’ love to hear the childrun speak their pieces. An’ so here I be, teacher, an’ I hope I haint late.

Teacher—No, indeed, you’re not late, Mis’ Hill, an’ we’re very, very glad you came. Have this chair (she seats Mrs. Hill).

Mrs. Hill—My, my, well I remember the time, teacher, that I’ve spoke a piece at Chris’mus time. They did say, as I says to Jeremiah, says I, they used to say that I was an awful good hand at speakin’. Mebbe I’ll speak a piece here today (smiles at children).

Teacher—That will be very, very nice. You’d like to have Mis’ Hill speak, wouldn’t you, children?

Sarah Jane—Oh, teacher, Billy Skaggs’s mother, she’s comin’ (a knock is heard. Teacher goes over and admits Mrs. Skaggs).

Mrs. Skaggs—How-de-do, teacher. I hope you’re feelin’ real well. I’ve come over to the Chris’mus speakin’, teacher. I’ve got an awful lot o’ work to do to home, bein’ as we’re goin’ to have comp’ny on Chris’mus, an’ I’m tryin’ to make some Chris’mus presents, an’ bake an’ clean up an’ all, but Billy he was so set on my comin’ that I jes’ come an’ here I be (she shakes hands with the teacher and Mrs. Hill).

Teacher—We are very, very glad you came. I should have been very, very disappointed if no one came to visit (she seats Mrs. Skaggs by Mrs. Hill).

Mrs. Skaggs—I hope you haint had none the speakin’ yet. I’d hate dreadful bad to miss any of it. As I was sayin’ to Hen—that’s my husban’—I says, Hen, there aint a single thing I like to hear better’n children speakin’ pieces. I think it’s dreadful nice, even when they make mistakes. As I says to Hen, we can’t expect ’em to do too good.

Teacher (tapping bell)—Be quiet, children (knock is heard. She goes over and admits Josiah Judd).

Mr. Judd—How-de-do, teacher, how-de-do? I came over to be present at—that is, to attend, and injoy—that is, to participate in the Chris’mus entertainment (shakes hands awkwardly with teacher and the two visitors). As a member of the skule board I feel that I should incourage the childern of the deestrict with my presence here an’ see how[9] they’re gittin’ on. Be they doin’ purty good, teacher? (looks children over).

Teacher—We’re very, very glad you came, Mr. Judd. Yes, they’re doin’ real well (she seats him). Now, children dear, we will begin to commence our Christmas entertainment (Billy sobs softly).

Mrs. Skaggs—Lan’ sakes, teacher, what’s the matter with ’im? Billy, is your stummick botherin’ you?

Mrs. Skaggs—Wal, lan’ sakes, teacher, I spose he’ll cry himself sick ef he can’t set by me. Can he come set here? He’s an awful hand fer his maw, Billy is (the children giggle).

Teacher (taking Billy by hand and leading him)—Yes, he may sit up here (she fixes a chair beside his mother for Billy). Now, children dear, we will sing our nice welcome song (she beats time with long ruler, Mr. Judd beats time with his hand and keeps time with his head; the two visitors[10] beat time with foot. The children sing with a great deal of spirit).

Teacher—Now we will have an essay on Christmas by Virgil Vale. Virgil wrote this all by himself out of his own head an’ it is very, very good (Virgil walks to the front with long strides, smoothes his hair, fixes his collar, straightens his coat, blows his nose, then takes a paper from his pocket and reads; high tone and sing-song).

Virgil—Christmas is a very nice day. It comes on the 25th day of December. Christmas is when Santa Claus[11] comes with presents. Christmas is when we hang up our stockings to get presents. Christmas is when we have Christmas trees with presents on. Christmas is when folks has company or goes visitin’. On Christmas day folks say Merry Christmas to each other. Christmas day don’t last long but it is a long time gettin’ here. It is more blessed to give Christmas than to receive it. Christmas is a merry day (bows low and takes seat).

Ole (much scared)—Teacher, I aint ban feel very gude—I don’t gass I ban speakin’ my piece today. I—I skall got awfully yumpin’ tooths aching, teacher.

Ole—Teacher, please, I ban gotting such a headache I aint skall ban feelings gude, teacher. I no skall ban able to speakings, teacher.

Ole—Then by yimminy, I skall ban speakings, yust the same like I aint ban sick (marches rapidly to front and speaks):

Teacher—Yes, indeed. You spoke very well, Ole. Next we shall have a song by the twins, Matildy and Florildy.

Florildy—You come on, now. You know what maw told you—that she’d spank you if you didn’t sing nice after teacher had learned us so good.

Mrs. Hill—Come on, Matildy. I know that song’s goin’ to be jes’ splendid (the twins go to the front and are about to sing when Matildy begins to giggle. Florildy looks at her then she too giggles).

Teacher—Girls, that is very, very wrong. Sing your song like nice girls. (Matildy straightens out, then as they are about to sing she has another spell of giggling in which Florildy finally joins. They at last sing):

Rastus—Say, teacher, I don’t wan’ ter speak no piece, I shooly don’ wan’ ter, teacher.

Rastus—No, hones’, re’lly, I shooly cross mah heart an’ hope ter die, I don’ wan’ ter speak mah piece, teacher.

Rastus—I’s ’fraid I’ll disrecomember it, teacher an’ mammy said as how if I disrecomembered mah piece I’d git skun alive when I gits home. I don’ wan’ ter get skun, shuah’s youse born I don’ wan’ ter, teacher.

Teacher—Now, Rastus, you won’t forget. I know you won’t, so come speak like a nice boy.

Mr. Judd—Now, Rastus, you speak your piece and I’ll see that your mother doesn’t touch you and I’ll give you some candy.

Mr. Judd—No, indeed he won’t. That was very good, very good (he gives Rastus bright stick of candy).

Rastus (eating candy)—Teacher, I jes’ as liefs to speak mah piece ovah agin.

Mrs. Skaggs—Now, Billy, tell maw what’s the matter. Be your stummick a hurtin’ you agin, Billy?

Billy (kicking floor with both feet)—Don’t wan’ ter wait. Boo-hoo, boo-hoo!

Sam—I s-s-s-s-s-s-say, he b-b-b-b-b-b-better have a g-g-g-g-good l-l-l-l-l-l-lickin’. (Mr. Judd slips over quietly and puts a stick of candy into Billy’s hand).

Billy—I won’t—(sees candy and stares at it, laughs and puts it in his mouth). Oh, Maw, I got some, too (laughs).

Tilly—Oh, teacher, my little sister’s cryin’! (puts arm around Corabell). What’s the matter, little sister? Are you sick?

Mr. Judd—Pshaw, now! I guess I got myself in trouble (he slips over and puts candy in Corabell’s hand).

Tilly—Oh, see, little sister, what the nice man gave you (Corabell laughs and puts candy in mouth).

Teacher—We will now have a piece by Sarah Jane (she sits fussing in her seat). Come, Sarah Jane, speak your piece.

Sarah Jane—I haint neither—I haint scart o’ nuthin’. I’m—I’m a fixin’ up my stockin’ (fusses, then goes to front and stands there, twisting her dress and looking down at floor).

Sarah Jane—How my piece starts (twists dress, looks down at floor, moves lips. Then speaks, loud and fast).

(Stops, moves lips, etc., as before. Then speaks the four lines over again and adds):

Sam—T-t-t-t-t-teacher, I g-g-g-g-g-g-got a s-s-s-s-s-short piece, k-k-k-k-k-kawse it takes me so l-l-l-l-l-long to s-s-s-s-s-say it, k-k-k-k-k-kawse I st-st-st-st-st-stutter.

Mrs. Skaggs—Now, don’t you be naughty. You go speak your piece so Santy Claus will bring you a nice present.

Mrs. Skaggs—Come now, maw will take you over (she takes him by the hand, pulls him to the front to speak, fixes his tie, smoothes his hair and goes back to her seat). Now speak, Billy.

Mrs. Skaggs—Now, Billy, don’t act so—what would paw say? (she pulls him back to front, fixes him again and turns to go to her seat. Billy grabs her skirt and follows her, crying). Wal, teacher, I don’t guess he’ll speak, he’s so bashful. He gits it from his paw an’ I spose he can’t help it.

Tilly—Come on, Corabell, don’t be ’fraid. I’ll take you up to speak (she leads Corabell to the front and fixes her hair, ribbons, dress, etc.) Now speak your piece, little sister (Corabell should be fat and larger than Tilly).

Mrs. Hill—My, my, me! It’s so long sence I’ve spoke I guess I’ve forgot how. Wal, I’ll try, but don’t you laugh at me (goes to front, makes sweeping gesture with both hands and bows low).

(Hands on hips and laughs, ha-ha-ha, ho-ho-ho, then makes another low bow and takes seat.)

Teacher—Now, children, we are very, very glad to have our esteemed an’ highly respected clerk of the Skule board here with us today. It was very, very nice for him to take so much interest in you an’ come to hear your pieces. Now we shall be very, very glad to have him make us a speech, won’t we, children?

Mr. Judd (going to front and rubbing hands together as he talks)—Wal, teacher and children and visiters, I can say with great truth an’ much joy that I be glad to been here today. Yes, childern, I allus like fer to hear the childern speak pieces an’ I can said that I been proud of the way you speaked an’ sung. Yes, childern, I can say with truth an’ not a tellin’ nuthin’ that haint so, that you all done good, very good, in your speakin’. Your nice teacher has been a learnin’ you fine an’ as I said, you done good. Yes, childern. An’ you mus’ all been proper behaved in skule, childern, fer nobody can’t larn good when they been a cuttin’ up, an’ misbehavin’ an’ not a mindin’ the nice teacher’s rule. Yes, childern. So I want fer to tell you as how you mus’ study hard an’ behave good. Now, childern, do you know what I be? (pause).

Teacher (smiling)—W’y, w’y, w’y, Florildy, dear, how can you SAY such a thing?

Mr. Judd (wiping face vigorously with bandanna)—Yes, yes, that is, I mean to said, I, yes, wal, (twists bandanna nervously) I wanted fer to have you said I were CLERK[23] of the SKULE BOARD, childern, yes, CLERK of SKAGGS’S SKULE, childern, an’ I was goin’ fer to say as how if you study hard an’ been good mebbe some day—yes, who knows, childern, mebbe some o’ you’ll git to been clerk. Wouldn’t that be grand, childern? Yes. So you mus’ study hard an’ been good behaved. Now I can truthful say I been glad to been here today with you an’ your nice teacher, an’ I hope you can all said the same. An’ I wish you all a merry Chris’mus, childern, very merry. Yes (sits, mops face with bandanna).

Teacher (beaming)—Now, wasn’t that a splendid speech? An’ we thank Mr. Judd very, very much, don’t we, children?

Teacher—An’ now, children, we will sing our Santy Claus song, an’ who knows, children, mebbe Santy Claus will come right here an’ serprise us all (beats time with ruler).

Virgil (gruff voice)—Wal, wal, childern, didn’t expec’ ter see me here today, did ye? Wal, here I be an’ I hope yer al glad to see Santy. Now fust thing, I want ter know HAVE YE BEEN GOOD CHILDERN? Have ye? (pause) Have ye been good?

Billy (bawling)—I want to go home. I want to go home (cries louder and falls down on floor).

Mrs. Skaggs—Oh, I’m ’fraid he’ll have a fit he’s so skeered. (to teacher) Tell ’im to take off his face so’s Billy can see ’im (teacher runs and talks to Virgil who pulls off his false face).

Virgil (crossly)—Nice way to spoil our fun (Billy stops crying, looks at Virgil and begins to laugh).

Teacher—Now, children, we will have a treat and Mr. Judd will help Santy pass it to you (Virgil and Mr. J. give each one a sack of pop corn and candy as curtain falls).

PLAYS, MONOLOGS, Etc.

AS OUR WASHWOMAN SEES IT. (Edna I. MacKenzie.) Time, 10 minutes. Nora is seen at the washboard at the home of Mrs. McNeal, where, amidst her work, she engages in a line of gossip concerning her patrons, that will make a hit with any audience. 25 cents.

ASK OUIJA. (Edna I. MacKenzie.) Time, 8 minutes. A present-day girl illustrates to her friends the wonders of the Ouija board. Her comments on the mysteries of this present-day fad as she consults Ouija will delight any audience. 25 cents.

COONTOWN TROUBLES. (Bugbee-Berg.) A lively black-face song given by Josephus Johnsing, Uncle Rastus and other Coontown folks. 35 cents.

THE GREAT CHICKEN STEALING CASE OF EBENEZER COUNTY. (Walter Richardson.) A negro mock trial for 9 males, 2 females and jurors. Time, 35 minutes. Any ordinary room easily arranged. From start to finish this trial is ludicrous to the extreme and will bring roars of laughter from the audience. 25 cents.

THE GREAT WHISKEY-STEALING CASE OF RUMBOLD VS. RYEBOLD. (Walter Richardson.) A mock trial for 11 males and jury. The fun increases as the trial proceeds, and reaches a climax when the jury decides who stole the whiskey. 25 cents.

HERE’S TO THE LAND OF THE STARS AND THE STRIPES. (Bugbee-Worrell.) Open your minstrel with this rousing patriotic song. Sheet music. 35 cents.

THE KINK IN KIZZIE’S WEDDING. (Mary Bonham.) Time, 20 minutes. For 7 males and 5 females. A colored wedding that will convulse any audience with laughter. Said to be the funniest mock wedding ever produced. 25 cents.

SHE SAYS SHE STUDIES. A monologue. (Edna I. MacKenzie.) A sentimental high-school girl seated with her books preparing the next day’s lessons, in a highly original and entertaining manner, expresses her views on the merits of her various studies and her unbiased opinion of her teachers, as she proceeds from book to book in the order of her recitation; but when she has finished, you will agree that she is very much more of an entertainer than a student. 25 cents.

SUSAN GETS READY FOR CHURCH. (Edna I. MacKenzie.) Time, 10 minutes. It is time for church and Susan, at her toilet, is excitedly calling for missing articles and her rapid line of gossip about her friends and of certain church activities will bring many a laugh. 25 cents.

THAT AWFUL LETTER. A comedy of unusual merit, in one act. (Edna I. MacKenzie.) For five girls. Time, 30 minutes. Recommended for high schools, societies and churches. Elizabeth Norton, an accomplished college girl from the country, has been reluctantly and rudely invited to visit a city cousin, Margaret Neilson, whom she has never seen. Finding she is expected to be gawky and uneducated, Elizabeth acts the part perfectly. Developments follow thick and fast amid flashes of wit, humor and satire from Elizabeth, who at last reveals her real self. Margaret’s humiliation is complete and there is a happy ending. All the characters are good. The country cousin is a star. 25 cents.

THE UNEXPECTED GUEST. A one-act comedy. (Edna I. MacKenzie.) Six females. Time, 45 minutes. The unexpected arrival of an eccentric aunt throws, a family into a state of excitement and dismay, but before the play is over the unwelcome aunt has endeared herself to her relatives in quite an unexpected manner. Funny situations throughout. 25 cents.

Paine Publishing Company Dayton, Ohio

CHRISTMAS ENTERTAINMENTS

CHRISTMAS AT PUNKIN HOLLER. (Elizabeth P. Guptill.) One of the most popular Christmas plays clean, wholesome fun from beginning to end. It depicts the trials of the teacher of an old-fashioned “deestric school” in conducting the last rehearsal for the Christmas Entertainment. Children and grown-ups will be delighted with CHRISTMAS AT PUNKIN HOLLER. 25c.

CHRISTMAS AT McCARTHY’S. (Elizabeth F. Guptill.) A Christmas play for young folks and children that is brimful of fun from start to close and is interspersed with the gentlest pathos. All the characters are good. Easy to produce. No special scenery or costumes. No Santa Claus. Can be played in any schoolroom. 25c.

CHRISTMAS SPEAKIN’ AT SKAGGS’S SKULE. (Marie Irish.) Just published. Humorous entertainment for six boys and eight girls, including Ole, the Swede; Rastus, the negro; bashful Bill; Jeremiah Judkins, the skule clerk; Mis’ Skaggs and Mis’ Hill, the mothers who “help out;” fat little sister; Matildy and Florildy, the twins; Sam who st-t-tut-ters; Tiny, and Miss Emmeline Elkins, the teacher. The speech by the skule clerk and the fake Santy Claus are features. 25c.

CHRISTMAS DIALOGUES. (Cecil J. Richmond.) Every dialogue in this book is decidedly to the point and easy to prepare. They will delight both young and old. The book contains the following: Is There a Santa Clause? (2 small children, Santa Claus and chorus); Herbert’s Discovery (2 boys); The Christmas Dinner (2 little girls, 1 larger girl, and 2 boys); Playing Santa Claus (1 small and 2 larger boys); A Double Christmas Gift (2 small girls, 2 larger girls, and 3 boys). Many customers have told us that the last named dialogue is worth the price of the book. 25 cents.

EVERGREEN AND HOLLY—SONG AND DRILL. (Elizabeth F. Guptill.) A drill for any even number of boys and girls, or all girls. The girls carry garlands of evergreen while the boys carry wreaths of the same. After a spectacular drill and fancy march they all sing a beautiful Christmas song, which accompanies the drill. Easy to produce and decidedly novel. 25 cents.

GOOD-BYE, CHRISTMAS GROUCHES. (Irish-Lyman.) A jolly Christmas song for any number of boys and girls. It abounds with Christmas cheer and many pleasant surprises. Full of action. Sheet music. This popular song will put “pep” in your Christmas entertainment and will furnish your audience a rare treat. 35 cents.

POINSETTIA DRILL. (Marie Irish.) A drill for 12 or more girls carrying poinsettias. Given to the music of a lively march, interspersed with verses to the tune of the song. “Comin’ Through the Rye.” Several diagrams make clear the following of the directions. One of the most beautiful Christmas drills published. 25 cents.

SANTA CLAUS IS COMING. (Irish-Garster.) Song for little folks. Easy words and simple action. A pleasing little song that the children will enjoy giving and others will enjoy hearing, because of its merry humor. Sheet music. 35 cents.

STARS OF BETHLEHEM. (Irish-Leyman.) A beautiful song of the Christ Child for either solo or chorus. The music is sweet and perfectly suited to the beautiful words. A delightful number for children or adults. Sheet music, 35 cents.

SNOWBOUND FOR CHRISTMAS. (Edna I. MacKenzie.) For 4 boys and 4 girls. Time, 25 minutes. The roads being blocked by a recent snowstorm, the Simpson family has not been able to get to town to do their Christmas shopping. After considerable lamenting by the children over their disappointment, Ma Simpson, Pa Simpson, and the older children determine upon home-made presents, which results in a most pleasant surprise. 25 cents.

TOPSY TURVY CHRISTMAS, A. (Elizabeth F. Guptill.) A decidedly humorous Christmas play for any number of children from six to twelve years old. The children are tired of “minding” and of everything being “just so,” so they start to find a place where things will be different. There is a pleasing surprise for the audience at every turn of the play. 25 cents.

Paine Publishing Company Dayton, Ohio

*** END OF THE PROJECT GUTENBERG EBOOK CHRISTMAS SPEAKIN' AT SKAGGS'S SKULE ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Miss Emmeline Elkins—Teacher.
Josiah Judd—Clerk of Skule Board.
Mrs. Skaggs		—Visitors.
Mrs. Hill
Billy Skaggs—Very Bashful.
Ole Swanson—A Swede.
Florildy		—The Twins.
Matildy
Rastus—A Negro Boy.
Sam Shaw—Who Stutters.
Virgil Vane—Very Studious.
Tiny Tilly—Small for Age.
Corabell—Her Fat Sister.
Sarah Jane—Who’s Not Scared.