for the episodes have already been indicated. The pageant
may be given by a cast made up entirely of girls, if it is so wished.

THE MUSE OF HAWTHORNE. Pale-pink cheesecloth draperies. A tall white
staff, on which is fastened a cluster of pink hawthorn blossoms.
Flowing hair, and a chaplet of laurel leaves. White stockings and
sandals.

THE SPIRITS OF THE OLD MANSE. Greek robes in colored cheesecloth or
cotton crepe. There are eight of these maidens, and the colors they
wear are pale-green, pale-lavender, pale-yellow, and pale-blue. They
carry great garlands of moss interwoven with pine--about two yards for
each player, so that it can be held gracefully. White stockings and
sandals. Hair bound With Greek fillets of white or of silver.
Symbolically these spirits represent Joy, Mystery, Peace, Dreams, Hope,
Aspiration, Fulfilment, Ecstasy.

MUSIC. The songs of the episodes are already indicated on pages 194 and
203. The music for the chorus of the Spirits of the Old Manse can be
found in "Songs of the West," by S. Baring Gould, which is a collection
of the Folk Songs of Devon and Cornwall, collected from the mouths of
the people. The music of this chorus is set to the seventeenth-century
folk song called "The Sweet Nightingale" ("My sweetheart, come along,"
etc.). The incidental music for the Hawthorne Pageant when it is given
indoors should be from Edward MacDowell's "New England Idylls" Op. 62,
and from his "Indian Suite." "From an Old Garden," "Midsummer," "An
Indian Idyll," and "From Puritan Days" can be played between the
episodes and the Dance Interlude. An orchestra or piano can add to the
music of Faunch's fiddle in the Merrymount scene. The music for the
procession should be very stately, and by a seventeenth-century
composer, if possible.

NOTES ON DIRECTING THE PAGEANT. The first verse of the chorus of the
Spirits of the Old Manse should be sung off stage in the indoor
production. The stage should be darkened: footlights low. With the next
verse the spirits enter, four from right, and four from left, mystic,
half-seen figures. As they enter the lights gradually begin to come up,
until with the middle of the second verse there is full strong
daylight. If the eight voices are not enough a hidden augmented chorus
can be behind the scenes. If the stage is such that it can be darkened
and lighted at will, a fire-glow effect should be given for the
Merrymount scene. The light for all the scenes should be that of