The Project Gutenberg eBook of Christmas at Punkin Holler, by Elizabeth F. Guptill.

New Entertainment Songs
By Edna Randolph Worrell.

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 25 cents each. Five copies, $1.00.

WE HOPE YOU’VE BROUGHT YOUR SMILES ALONG. 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.

WE’LL NOW HAVE TO SAY GOOD-BYE. 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.

WE’VE JUST ARRIVED FROM BASHFUL TOWN. This song will bring memories to the listeners of their own bashful school days. Words, unusually clever. Music, decidedly melodious. A capital welcome song, or it may be sung at any time on the program with assured success.

MY OWN AMERICA, I LOVE THEE. A song that will bring a thrill of patriotism to the heart of every one who hears it. The children and grown-ups just can’t resist the catchy music. It makes a capital marching song.

COME AND PARTAKE OF OUR WELCOME CAKE. A merry welcome song and a jolly one, too. The audience will be immediately curious about the Welcome Cake, and the children will love to surprise the listeners with the catchy words. Music, easy and tuneful.

LULLABY LANE. The music and words blend so beautifully that people will be humming the appealing strains long after they hear this charming song. A wonderfully effective closing song, whether sung by the school or as a solo by a little girl, with a chorus of other little girls with dolls.

JOLLY PICKANINNIES. Words by Elizabeth F. Guptill. Music by Edna R. Worrell. This spicy coon song will bring down the house, especially if you use the directions for the motions which accompany the music. The black faces and shining eyes of the pickaninnies will guarantee a hit. The words are great and the music just right.

THE LITTLE BIRD’S SECRET. Here is just the song for those two little folks to sing together. They won’t have to be coaxed to sing it, especially when they find that the whole school is to whistle the chorus. This is a decided novelty, and will prove a rare treat to your audience.

A GARDEN ROMANCE. This is a dainty little song telling of the romance and wedding of Marigold and Sweet William. It is just the song for dainty little girls to sing.

COME TO THE NURSERY RHYME GARDEN AND PLAY. Here is something different for the little folks to sing. The Nursery Rhyme Folk are so familiar to children, it will be no trick for them to remember the words. The music has a most captivating swing.

Paine Publishing Company - - Dayton, Ohio

Cast of Characters

Christmas at Punkin Holler

SCENE: The schoolroom. The necessary articles of furniture are the teacher’s desk and chair, and a couple of long wooden benches, or settees, if the benches are not to be easily obtained. The pupils are moving around, talking, laughing, and romping; making considerable noise and confusion. Miss Peppergrass enters, in hood and shawl, and speaks, but fails to make herself heard. She removes her wraps, hanging them on a nail near her desk, and rings bell smartly. School slowly becomes quiet, but the pupils do not seat themselves. Instead, they stare, wonderingly, at teacher.

Miss P.—I should say as much, judging by the noise you were making; but we can not rehearse for the entertainment to-night in the midst of such a racket as that. It sounded like a den of wild beasts.

Jacob—So ’twas, Teacher—a regular circus. I’m a lion, and I’m a-goin’ to eat Sally up! (Pounces on Sally, and begins to growl, and to pretend to eat her. Sally screams.)

Miss P.—(ringing bell again) That will do, Jacob. Now, children, take your seats. We must have it quiet. (Children crowd into seats. Johnny tries to pass the end of one seat, but is held back by Lucindy. He struggles.)

Johnny—No such a thing, Teacher. I was a-goin’ ter set down, and she grabbed onto me.

Johnny—Well, I was a-goin’ to set down in my own seat. I don’t like to set there.

Miss P.—But we are reserving the seats for the visitors. There will be a great many here to-night, you know. Don’t you want to be a little gentleman, and give up your seat to some one—your mamma, perhaps?

Johnny—Huh! Ma couldn’t git herself into that seat. She’s too fat. Pa’s a-goin’ to bring a chair for her, ’cause she couldn’t git into any seat, ’thout you tooked away the desk first!

Miss P.—(sharply) Well, you can’t have it! Now sit down at once in the place assigned you, or—(she takes a switch from her desk.)

Miss P.—Ah, but I shall to-night, Johnny. I shall give it, as the seat of honor, to our supervisor, Mr. Barker. I shall be glad to give it to him, Johnny.

Jake—I wish you wouldn’t call me Jay Cup. Nobody else ever did. I’d as lief be called Jay Saucer, any day.

Miss P.—We won’t argue the matter, Jacob. I asked you what you said to Johnny.

Jake—I was jest a tellin’ him thet you was more politer than him, that’s all.

Betsey—And we’ve made paper chains, ’n tied up a lot o’ but’nuts in colored paper.

Miss P.—It might take your attention. No, let it remain where it is for the present.

Johnny—It wants ter be brung in here fer the presents. ’Sides, there ain’t no presents ben brung yit.

Miss P.—I hardly think so, with woods all around us. A tree would hardly be worth stealing, Sammy. Silence now.

Hiram—In custom. In our other rigs—our fol-de-rols ’n doodads that we’re go’n ter wear to-night?

Miss P.—Oh, your costumes? Certainly, if you have brought them. (Those who are to change clothing, rush out, pellmell.)

Reuben—But you did say it, jest the same. You told ’em ter put on their cuss tunes, ’n ef it’s bad ter call er cow a cuss, it’s bad ter call a tune one.

Reuben—Oh! (aside, as Aunt Hepsey enters) But she did say it, ’n she said it agin.

Aunt Hepsey—How de do, Miss Peppergrass! I thought I’d jest drap in to hear the perliminaries, bein’s I couldn’t git out to-night.

Miss P.—(offering chair) You are very welcome, Miss Bascom. But do come to-night.

Aunt Hepsey—(sitting down heavily) Suz me, child, I dassn’t! I kaint posserbly go out arter dark, count ’o my rheumatiz. Cripples me all up. I’ll enjy it jest as well now, though, so jest go right ahead, same’s ef I warn’t here.

Sammy—Haint neither, but I’m worried ’bout that ere tree. Somebody might steal it.

(Re-enter Hiram. He has pulled on the Santa Claus trousers over his overalls, and stuffed a pillow in front. He is endeavoring to place one behind.)

Miss P.—Now sit down and behave yourself. (Reuben sits down, and sulks.) (Hiram has been industriously stuffing in the back pillow, but the front one has fallen on the floor.)

Aunt Hepsy—Well, I sh’d think you might, Hi, I sure do. They’re big enough for old Paul Clear, let alone Hi Whittaker.

Hiram—Big enough! Guess they be, Aunt Hepsy, but fast ez I git the front piller in, aout it draps while I’m a gittin’ in the one behint.

Hiram—Guess I’ll hafter, Teacher, sure. Nice big baby I be, kain’t dress myself.

Hiram—Oh, the jacket? But there ain’t but one, less ’n you count the belt.

Aunt Hepsey—Jest you come here, Hi. I’ll fix you up. Go right on ’ith your programmy, Miss Peppergrass. I’ll tend ter him. I’ve rigged many a Santy Claws in my day.

Miss P.—Now, children, we must get to work, or we will not be through by the time they want to trim the tree.

Miss P.—The tree is all right, Sammy. Now I have the programme all arranged, and we will proceed just as we shall to-night. First will be the welcome song.

Aunt Hepsy—Mebbe so, mebbe so; but you don’t know Hanner Ann Jenkins ’s well ’s I do, or you’d know thet ef she’d made up her mind thet Ruby sh’d speak first, she’ll have him do it, ef it[8] breaks up the whole entertainment. Hev’n’t you ever noticed thet Ruby was kinder sot in his ways for a youngster? He takes it from his ma, she thet was Hanner Ann Bean. I’d let him say it fust, ef I was you, I really would.

Aunt Hepsey—Change it, child. Ef ’twas jest Ruby, you could lick him inter mindin’, but Hanner Ann is six feet high, ’n weighs over two hundred. Do let’s have peace at Christmas time. ’N ’twill be anythin’ but peace ef Ruby don’t say that ere leetle varse fust. Go ahead ’n git it over, Ruby.

(At 1, he bows elaborately to Aunt Hepsy, in the teacher’s chair. At 2, he bows to school. At 3, he points to side of room. At 4, he opens his arms, flinging his hands widely apart. At 5, he clasps his hands, with a loud clap, gazing upward. At 6, he smacks his lips. At 7, he bows again. At 8, he runs to seat.)

Rhody—He didn’t say it right, teacher. It’s “Hope I get a pretty toy.”

Reuben—Well, a jumpin’ jack’s a pretty toy, aint it? It’s what I want, anyhow.

Teacher—That will do, Rhoda. Let him fight it out with his mother himself. If he gets a whipping, it’s no more then he deserves.

Miss P.—If he’s to say it when he pleases, he may say it as he pleases, for all I care.

Aunt Hepsy—She’ll skin him alive, ef he does say it wrong. Hanner Ann writ that ere little varse herself, ’n she’s prouder of it[9] than a kitten with its fust mouse. Better say “pretty toy,” Ruby, ef your ma says so.

Miss P.—We will now sing our welcome song. (Several begin to sing, in different keys. Miss P. raps on her desk and they stop.)

Miss P.—No, no, children. Wait till I give you the key. I will start the songs, and you must wait for me. Why, what would people think if you started in like that, all out of tune?

(Children laugh. Miss P. raps for order, gets the key, with an old-fashioned tuning fork, if one can be obtained, and starts the song. All stand up to sing. Tune: “Tramp, tramp, tramp, the boys are marching.”)

(In singing, let some do the motions well, some awkwardly, while some exaggerate them.)

(Motions—1, Clasp hand on breast. 2, hands together, throw them widely apart. 3, boys bow elaborately, girls courtesy. 4, hold out hands, in greeting. 5, clap hands, through two lines. 6, touch breast, with both hands. 7, gesture with right forefinger. 8, throw right hand out, forefinger pointing. 9, point to where tree is to be. 10, bend forward. 11, both hands high, drooping from wrists. 12, point to imaginary articles, making little jabs in air, here and there, as each is mentioned. 13, clasp hands. 14, throw hands widely apart. 15, clap softly. 16, shake forefinger to music. 17, hold arms to designate large pack. 18, hands high, bring down together. 19, hand to ear, listening. 20, beat time, with right foot. 21, clasp hands. 22, gesture with right hand.

Hiram sings from where Aunt Hepsy is dressing him, and Patty and Faith step inside door and sing, then pop back into entry. Patty may be partly dressed, and Fay partly undressed.)

Aunt Hepsy—(clapping) Brayvo, children, brayvo! Where ever did you find sech a proprate song as that, Miss Peppergrass? (Miss P. simpers) You never writ it your own self, did you? Wal, I guess that’ll take the wind outen Hanner Ann Jenkinses sails. I allers thought a heap o’ po’try, myself, but I s’posed it took a lot o’ brains to write it. Did it take you days ’n days? And what was all the flumadoodles with their hands for?

Miss P.—Why, motion songs are very popular in the cities, I’ve heard, so I thought we would give some at our entertainment.

Aunt Hepsy—Yes, indeedy! Punkin Holler allers did pride itself on keepin’ right up to date. We’re no hayseeders in this commoonerty.

Aunt Hepsy—I haint a doubt they was, Miss Peppergrass, not a mite o’ doubt; but I was so flabbergasted at hearin’ them ere new words sung to thet old tune and so dumfounded at seein’ all them young ’uns a wavin’ their paws, wild like, in the air, thet I[11] never once noticed if it war graceful. It sure was, though, an’ that’s a fact.

Miss P.—Next will be a recitation by Lucinda Lowe. An old poem, with new variations. (Lucinda advances, bows very low, and recites. She announces the name of her piece, as do all, in the old-fashioned way.)

Aunt Hepsy—Fool be’nt a pretty word, Lucindy. Why don’t you say numb-head?

Hiram—Look out, Sammy. She’s put that lamb of hers out doors, and he’ll eat up the Christmas tree.

Miss P.—I hardly think any one will be hungry enough for that. People do not eat trees.

Sammy—Deers do, ’n bears, ’n—’n—moose! Jes’ s’pos’n a big moose comed along, ’n et off all the branches!

Miss P.—We’ll risk it, I think. Next on the programme is a duet by Jacob Toothaker and Rhoda Jenkins.

(They come out, bow to the chair, then to the school, then, elaborately to each other, and sing to the tune, “Reuben, Reuben, I’ve Been Thinking.”)

Jake—I won’t sing it, ’n I won’t sing it ternight, nuther, ef she calls me Jay Cup! ’Taint my name, ’n I don’t keer ef ’t does sound stylisher, so there! My name’s allers been Jake tel this term er school. By next it’ll be Jake Platter, I expect.

Aunt Hepsy—Sing it (sings) “Jakie, Jakie, I’ve ben thinkin’.” That’ll go all right.

Jake—’Twon’t nuther. Jakie’s a kid’s name. It’s Jake er nuthin’. Ef she sings it so, I’ll sing back, ’n ef she don’t, I won’t.

Miss P.—I never saw such stubborn children in my life. Did ever you, Miss Bascom?

Aunt Hepsey—Land, yes, child. His pa’s jest like him. Him ’n me was promised, once, ’n he wouldn’t git spliced less’n I’d wear a blue delaine he’d bought fer me. Course, I warnt so mulish az he war, but I’d sot my heart on a white dimity, ’n bein’s I war the one to wear it, twar his place to give in. But he wouldn’t—no siree! ’N we bickered ’n bickered bout it, ’n I went right on a makin’ up the white dimity ’n finally he says, says he, “Hepsey, it’s me an’ the blue delaine, or the white dimity for an ole maid.” “Land sakes!” says I, “You don’t say so? Wal, you kin jes’ take yer old blue delaine, ’n hunt ye up a gal meek enough ter be married—’n buried, in it,” says I, ’n off he went, mad as a hatter. Much ’s ever he speaks to me yit, but I was married—in the white dimity—two year afore he found a gal that ’d have him, ’n could wear that blue delaine. You see, I’d cut ’n made it, ’n I was slender in those days—the slenderest gal in town. Yes, Ezry Toothaker’s some sot, ’n Jake comes nat’rally by it. Sing it to suit him, Rhody, do! ’Tain’t ’s ef ’twas fer allers. It’s jest ternight.

Aunt Hepsy—Draw out the Jake good ’n long, ’n it’ll go. This way. (sings) “Jake, Jake, I’ve been thinkin’.”

(Motions—1, shake finger, coquettishly. 2, clasp hands. 3, wave hand toward place where tree is to stand. 4, beat time with right fist on left palm. 5, clap hands. 6, join right hands, trip around, stop, facing, on opposite side. 7, join left hands, and repeat 6. 8, nod. 9, shake head. 10, join both hands, and dance around. 11, put head to one side, and smirk. 12, both hands clasped on breast. 13, point with right forefinger. 14, measure with thumb and forefinger. 15, clap hand over hip pocket. 16, hang head bashfully, step nearer. 17, hold up left hand, and look at ring finger. 18, place hands on Jake’s shoulders. 19, shake her gently. 20, place hands against Jake’s breast, look up earnestly. 21, starts back. 22, slaps pocket. 23, steps back, head high. 24, nods emphatically. 25, turn backs toward each other, heads high. 26, look over shoulder. 27, face about. 28, bow elaborately. Rhoda dances to seat. Jake stalks glumly to his, hands in pockets.)

Aunt Hepsy—(clapping) Good, good enough! Ef you writ that ere song, Miss Peppergrass, you’re a genyus. It’s the truest and funniest thing I ever heerd. And the funniest part of it is, the men folks’ll never know how funny it reely is! It’s human natur, sure enough. ’Twas wuth comin’ in, jest to hear that one song. What’s next on the programmy?

(Betsey comes out, unfolds her composition very deliberately, and reads her title with emphasis.)

Betsey—’Tis Sandy Claws. Uncle Sol says so, and he’s the oldest man in this town. He says folkses allers used to say it so, and it’s jest a new-fangled notion to change it. ’N he said if I’d read it jest as I writ it, he’d give me ten cents, ’n I’m a goin’ to do it. I never had ten cents to once’t before, ’n I’m a goin’ to get it.

Aunt Hepsey—Don’t blame ye a bit. Ef anybody kin git ten cents outen old Sol Perkins, it’s their bounden duty to do it, say I. Go on, Betsey, ’n read it up good ’n loud.

Betsey—“Sandy Claws.”—Sandy Claws is an old, old man, older than Methuselah ever dreamed of being. He lives in a big snow house, built around the North Pole, and uses the Pole for a flag staff. He is very fat and jolly, with a big ponderosity in front. His belt is so long it has to be made to order. His eyes are the kind that twinkle and laugh all by themselves. His nose is round and red, like a little apple. His cheeks are, too, what you can see of ’em. They are mostly covered by his whiskers. His whiskers are very predominant. They grow as thick as a crop of well fertilized clover in a good hay year. His hair is long, thick, and curly, so that if he bumps his head getting down a chimbley, it won’t hurt him none—I mean not any. These hair and whiskers are of a sandy color, which is one reason he is called Sandy Claws. The other reason is because he has claws.

Aunt Hepsey—Hold on there, Betsey! I’ve seen many a picture of Sandy Claws in my day, but nary a one that had claws.

Aunt Hepsey—Land yes, there’s no disputin’ Sol Perkins. He’s sailed around the world, ’n lived with the Feejees ’n the Hottentots, ’n if you doubt ary one o’ his sailor yarns, he’ll up ’n say, “Wal, was you ever there?” ’n course you never wasn’t ’n there ’tis. But claws on Sandy Claws is most too much ter swaller.

Betsey—Uncle Sol’s seen old Sandy Claws with his own eyes, ’n he knows. Sandy saved him when he was wrecked in Baffin Bay, ’n he lived with him most six months, till it come Christmuss again.

Aunt Hepsey—Wal, wal! I knew Sol had ben wrecked some two or three hundred times, but I never heered of that time afore.

Betsey—Nor I, till I hed this ere comporishing to write, ’n then he told me. He’d allers kep it a secret afore. (reads) His claws are not on his fingers, but on his toes, ’n when he finds a bad child[18] a-sleepin’ (I mean sleeping with his stocking hanging up by the chimbley), he jest scratches him good ’n hard with them claws o’ his’n, and whops up chimbley again, ’n leaves it hang there empty, less’n he puts in a stick. He brings beautiful things to good girls and boys, and I hope he’ll bring me a diamond necklace this year, or at least a gold chain with a diamond locket. I’ve wished for them every year since I was a child, and although he has not brought them, I haven’t given up hoping yet.—Betsey Euphemia Perkins, aged 12.

Miss P.—Very good indeed, Betsey, and your composition is certainly original, with your Uncle Sol, at least. (Betsey takes seat.)

Aunt Hepsey—That’ll please Sol—that ere compliment. He doos hate ter have any body doubt his stories—and after all, we’ve never went to sea.

Miss P.—But I told you that wouldn’t do for a piece, and you were to learn another.

Miriam—(rising) ’Tis another, Teacher—or rather it’s the same one made longer. Ma she said it was too bad to change it when ’twas so ’proprate, ’n Reuben’s mother she fixed it up fer ’em. It’s good, now, Teacher, really, ’n Ma she says it’s that or nothin’. ’N if they can’t speak it, we can’t any of us come to-night.

(Motions—1, hit nose with forefinger, with downward stroke. 2, smooth nose, and down on cheeks with both forefingers, holding head up, rather haughtily. 3, cross forefingers, work them back and forth, like shears. 4, take tips of ears between thumbs and forefingers. 5, wipe first one eye, then the other, with corner of handkerchief. 6, clap hands together. 7, nod. 8, join hands. 9, walk to corner where tree is to stand. 10, spread hands apart, motioning toward corner, and looking up. 11, stand a moment in position. 10, then turn and bow, hands still apart. 11, join hands, march to front, bow, and take seats.)

Miriam—Yes, warn’t it a nice one, teacher? Hanner Ann Jenkins is goin’ to hang ’em each a present for speakin’ it, ’n ma’s goin’ to hang one for Hanner Ann for writin’ it. She wouldn’t take a cent, ’n it took her three hours. It’s wuth ten cents an hour, ma says, ’n that there present’s goin’ to be wuth every bit of thutty cents.

Aunt Hepsey—Least said soonest mended, child. Best keep still, and go on with the programmy.

Miss P.—Music by the orchestra. “While Shepherds Watched Their Flocks By Night.” (Peter, Jacob, Rhoda, Miriam, Betsey, and Sammy come out.) (Sammy has a drum, Peter “bones” or “clappers,” Jacob a jewsharp, or harmonica if he can play the tune on it, Rhoda has a triangle, and Miriam and Betsey have paper covered combs.)

Hiram—(from doorway) Shell I come, teacher? I’m all rigged out in these doodads.

Miss P.—Yes, come and take your part. Santa Claus has a right to whistle at a Christmas entertainment.

(Hiram takes place in line, and whistles the tune. Any other tune will do as well, providing it is old-fashioned. They should have some difficulty in getting started. Miss P. “beats time” with a ruler.)

Aunt Hepsey—(at close) Wal, wal! So that’s an orchestry! I’ve often read in the papers, “Music by sech and sech an orchestry,” but I never knowed what an orchestry was. They did real well I’m sure. They’d ought to hev a wong kore piece. The folks’ll be sure to clap ’em back.

(Faith runs from entry, dressed as a fairy, in short white skirts, with many ruffles, paper wings, flowing hair, with a paper crown, and a long slender stick in her hand. Bows lightly and waves wand.)

Faith—Ma, she ain’t got the star fastened to the end of my wand yet, and she said this’d have to do till to-night. It’s the peskiest thing she ever tried to make stay, she says, but it’s got to stay, somehow.

Miss P.—Very well. Now sing. (Faith starts it, first too low, then too high, then Miss P. starts it, and she sings.)

(Motions—1, sway wand lightly, to and fro. 2, trip lightly to one side, (at next 2, trip back.) 3, wand high, to right, bring down, obliquely. 4, trip back and forth, a few steps. 5, stand still in place, but dance lightly up and down. 6, wand to left, against body, bring to right, and out, with sweeping motion. 7, hands out, in front. 8, look around, over left shoulder, at wing. 9, wave wand low. 10, hold wand high, dance around in place. At close, bow airily, and dance to seat.)

Aunt Hepsey—Wal, ef that aint the purtiest thing I ever saw! And Fay makes a sweet fairy. Now you writ that, I’m sure, Miss Peppergrass. Oh, you needn’t acknowlidge it, ’nless you wanter, kaze I kin tell, by the way you blush, ’n simper. You needn’t be ’fraid ter own it, fer it’s as good as anythin’ Longfeller ever writ, I’m sure.

Aunt Hepsey—Massy me, Johnny! I couldn’t hear a word of it. What was it about?

Miss P.—No, no, Johnny. Say it slower. (Johnny says two lines, very slowly.)

Miss P.—A little faster, Johnny, and loud, too. (Johnny tries again, and does well, but speaks very loud.)

Miss P.—Recitation by Sally Whittaker. (Sally comes out, and puts finger in mouth a minute, then bows, puts in finger again, takes it out, bows again. Does so two or three times.)

(Patty comes from entry, dressed in long nightie. She has bare feet and flowing hair, and carries a candle.)

(Motions—1, sits down. 2, rubs eyes. 3, closes eyes. 4, lies down on floor. 5, sit up, open eyes, stretch sleepily, lie down and go to sleep. Hi tiptoes in, and carries her out.)

Miss P.—Now the orchestra will play the closing piece, (to Sammy, who is wildly waving hand) What is it, Sammy?

Miss P.—Yes. (Sammy tiptoes out. Orchestra begins “Old Hundred,” and Sammy bursts wildly in.)

Sammy—Teacher, oh teacher! Somebody’s been and gone and done it! I told you they would! I told you so! Oh dear! Oh dear!

CHRISTMAS AT PUNKIN HOLLER. A new Christmas play by Elizabeth F. Guptill that abounds in 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. Some of the pupils are in “custom,” as big Jake puts it, and “Sandy Claus” is there. The children go through their parts with gusto and more or less success. May be given in any schoolroom by any number. Easy to produce. Costumes simple. Children and grown-ups will be delighted with CHRISTMAS AT PUNKIN HOLLER. Price, 15 cents.

A TOPSY TURVY CHRISTMAS. Another new Christmas play by Elizabeth F. Guptill. It is decidedly humorous from start to finish. The characters are strong and at every turn of the play there is a happy surprise for the audience. The children are tired of “minding,” and the everything being “just so,” so they start to find a place where they will find things different. They find it in Topsy Turvy Land, where they have strange experiences. When at last they have a Topsy Turvy Christmas, they are ready to go home and be satisfied with things just as they are. May be given in any schoolroom by any number of children not less than fifteen. In two short scenes. This clever play will prove a sure winner wherever produced. Price, 15 cents.

CHRISTMAS AT McCARTHY’S. Elizabeth P. Guptill. Here is a new Christmas play for the older children and as many young children as are available. It combines in a marked degree the gentlest pathos and the most sparkling humor. Several nationalities are represented in the tenement and there is opportunity for the introduction of specialties if desired. Circumstances cause Elsie, the tenement orphan, to believe Jimmy, the newsboy, will buy her a Christmas present, and it seems it is up to Jimmy to do it. Christmas is an unknown quantity at the tenement, but all agree that Elsie must not be disappointed, and plan to have one somehow. The entertainment is given by the “inhabitints thimsilves,” at McCarthy’s. In the midst of the fun, Elsie’s lost father walks in, and the finale is a general rejoicing. Price, 25c.

CHRISTMAS DIALOGUES. By Cecil J. Richmond. A book full of the choicest new and original dialogues for Christmas, parts for both boys and girls being well provided for. Some are for the little folks, in rhyme, some are for intermediate grades, and others for older children. Every dialogue in this book is decidedly to the point and easy to prepare. They will delight young and old alike. Contents: Is There a Santa Claus? 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. Price, 15 cents.

EVERGREEN AND HOLLY—SONG AND DRILL. By 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. Following the song they wind a spiral to the center of the stage, unwind same and march off. Complete instructions are given. It is the best Christmas drill ever published; easy to produce and decidedly novel. Price, 15 cents.

PEARL’S CHRISTMAS. Original, pleasing and interesting Christmas dialogue with an excellent moral, for 3 boys and 4 girls. Price, 5 cents; seven copies, 25 cents.

SITTING UP FOR SANTA CLAUS. A humorous dialogue for 6 girls, 5 boys, and Santa Claus. If you expect to have a Christmas entertainment, you surely want this. Single copy, 10 cents; or 10 copies, 60 cents.

READINGS AND RECITATIONS

COMIC ENTERTAINER, THE. An up-to-date collection of the choicest humor. Such a variety in prose and poetry as to suit almost any occasion. The book also contains four monologues, two for male and two for female characters; also four short dialogues. Price, thirty cents.

HUMOROUS MONOLOGUES. By Mayme R. Bitney. A fine collection of twenty-nine original monologues designed for the use of the amateur and the professional monologist. Practically suitable for ladies. The author has brought out with skill the humorous incidents that help make up the life of the country girl and woman, while the fashionable woman of the city, who is interested in parties, teas and golf, is just as truthfully depicted. Price, thirty cents.

THE EXCELLENT SCHOOL SPEAKER. The “Excellent”—is true to name. A book of over one hundred pages, especially compiled for us by C. S. Bradford, containing selections of poetry and prose, new and fresh. Full of good things. You can make no mistake in securing this speaker. Price, fifteen cents.

HOWE’S COMIC SCHOOL SPEAKER. Full of short, pithy, comic, and humorous recitations. This book should be in every school. Price, fifteen cents.

HOWE’S EXHIBITION SCHOOL SPEAKER. Contains about one hundred pages of selections of great range from the choicest literature of our country, suitable for schools, homes and exhibitions. It is the best thing out. Send for it. Price, fifteen cents.

THE JUVENILE SPEAKER. Every piece in this little book can be used and is worthy of its place in this useful work. It is undoubtedly the best book of the kind, for the money, published; and is highly recommended by teachers everywhere. Price, twenty cents.

LITTLE PIECES FOR LITTLE PEOPLE. Each set has twenty cards containing twenty-nine bright, pretty recitations for boys and girls, from five to ten years of age. Teachers like the pieces because of their convenient form. Being printed on cards, all wearisome copying is avoided. Price, fifteen cents.

MONOLOGUES FOR YOUNG FOLKS. By Mayme Riddle Bitney. Fifty-four original, clever, humorous monologues for young people from six to sixteen, or for monologists who impersonate children. A recitation may be a recounting of incidents, but a monologue has action; it becomes alive, and you are carried along with intense interest. A great variety of subjects. Also twenty-eight selections as follows: For Washington’s Birthday (4). For Labor Day (4). For Memorial Day, Flag Day, and other Patriotic Occasions (3). For Thanksgiving Day (8). For Christmas (9). Price, thirty cents.

RECITATIONS FOR PRIMARY GRADES, ORIGINAL AND UNIQUE. By Elizabeth F. Guptill. A collection of an unusual sort. Every one is as interesting as a story, and every one has a very decided point. Not a recitation in the collection that is dull or impractical. Price, fifteen cents.

THE NORMAL SPEAKER. A book suited to the wants of all, from the smallest school-child to the oldest reader. Do you want the most eloquent passages ever delivered by our greatest orators? Do you want the most soul-stirring patriotism? Do you want the purest, tenderest and most ennobling pathos? Do you want the most droll, eccentric and ludicrous descriptions and characterizations? Do you want the richest, rarest and most side-splitting humor? Do you want to arouse a new interest in literature and elocution among your pupils? Do you want the selections recited by the most eminent elocutionists? Do you want the cream, the quintessence of all that is suitable for reading or declaiming in schools, exhibitions, literary societies, picnics, or in the family or private reading room? Buy the Normal Speaker and you will be sure to find in it something that will supply your wants. Price, thirty cents.

Our large Entertainment Catalogue sent on request.

PAINE PUBLISHING COMPANY, DAYTON, OHIO.

Transcriber’s Notes:

Play changes characters names to nicknames and back again at times. Dialect is inconsistent in spelling. For example “haint” and “hain’t.” Obvious punctuation errors repaired.

Page 4, “rehease” changed to “rehearse” (rehearse your parts)

Page 5, “On” changed to “Oh” (Oh no, Reuben)

Page 11, “fashinoned” changed to “fashioned” (in the old-fashioned)

Page 15, superscript 24 changed to 21. (No, by hemlock!²¹)

Page 19, “going’” changed to “goin’” (goin’ to hang one for)

Page 22, “Hallelulah” changed to “Hallelujah” (Glory Hallelujah)

Back cover: “Chistmas” changed to “Christmas” (sing a beautiful Christmas)

*** END OF THE PROJECT GUTENBERG EBOOK CHRISTMAS AT PUNKIN HOLLER ***

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 Peppergrass		The Teacher.
Aunt Hepsey		A queer character of the district.
Hiram		Pupils.
Jacob
Lucindy
Johnny
Sammy
Patty
Betsey
Peter
Reuben
Aaron
Mosetta
Miriam
Faith
Sally
Patience