YULETIDE
ENTERTAINMENTS

CHRISTMAS RECITATIONS, MONOLOGUES,
DRILLS, TABLEAUX, MOTION SONGS,
EXERCISES, DIALOGUES,
AND PLAYS

SUITABLE FOR ALL AGES

BY
ELLEN M. WILLARD
AUTHOR OF
“The Favorite Book of Drills,” “Fun for Little Folks,” “Little
Plays with Drills,” and “Pictured Readings
and Tableaux”

CHICAGO
T. S. DENISON & COMPANY
Publishers

COPYRIGHT, 1910, BY T. S. DENISON & COMPANY

MADE IN U. S. A.

Yuletide Entertainments

CONTENTS

The songs in this book are to be sung to old airs that are presumably familiar to everyone. If any of them should prove unfamiliar, however, the music will be found in Denison’s “Songs Worth While,” one of the best arranged and most carefully edited collections of old favorites ever published. This book is beautifully printed on non-glossy paper, measuring 10¼ by 7 inches, and is well bound in a stout paper cover done in colors. It may be obtained from the publisher for the price of $1.00, postpaid.

INTRODUCTORY

It becomes more and more a part of Christmas gayety to present the legends, or the spirit of it, to the eye as well as the mind.

For this purpose the following pages have been prepared in play and pantomime, songs and marches, drills and recitations.

While the needs of adults have not been forgotten, those of the children have been most largely remembered, since Christmas is pre-eminently the children’s festival.

A word to those who take charge of such affairs may not be amiss.

Precision of movement is the keynote of success for everything of this kind. This does not mean stiffness, but it does mean exactitude and certainty. Uncertain gestures in speaking; scattered attack and close in singing; hesitation in acting; and, more than all, careless motions and marching in the drills (corners not formed squarely, motions only half in unison, etc.)—all these are fatal to that success which makes such entertainments entertaining.

Here, as everywhere else, “What is worth doing at all, is worth doing well.”

YULETIDE
ENTERTAINMENTS

PART I.
Recitations, Monologues, Drills, Marches and Motion Songs

CHRISTMAS EVERY DAY.

Dear little Dorothy Dill Magee

Had a very beautiful Christmas tree;

And on it were hung the loveliest things,

Dolls, and sashes, and gloves, and rings,

Till nothing more, you would have thought,

Could possibly have been wished or sought.

But little Dorothy Dill Magee,

Although delighted as she could be,

Began to sob, to sniffle and cry

Because the day was so near passed by.

“I wish it was always Christmas Day,”

Little Dorothy Dill was heard to say.

Then what did round old Santa do

But pop right in through the chimney flue,

And say to Miss Dorothy Dill Magee

“Just as you wish I will make it be:

And I’ll tell every one of your friends and mates

That Christmas, to you, is of many dates.”

So Dorothy Dill forgot to cry,

And mourned no more when the day passed by,

But went to bed to dream of all things,

From dolls to fairies with gossamer wings.

The following morning stockings hung

By the side of her bed, and toys were strung

Beside the fire, and Dorothy Dill

Jumped up to explore with a right good will.

She had so many nice things that day

That she could do nothing but play and play.

But when night came with its Christmas tree

She was just as tired as she could be.

She scarcely could open her sleepy eyes,

And didn’t see half of her rich surprise.

When Dorothy Dill again awoke

The bulging stockings were like a joke,

A tiresome joke, and Dorothy sighed

With frowning brow at the gifts at her side.

She looked them over but couldn’t play,

And turkey and pudding at dinner that day

Weren’t good at all, and the Christmas tree

That night was horrid as it could be.

The troubles that followed I couldn’t rehearse,

For Dorothy’s Christmas grew worse and worse.

She had so many sashes and rings,

So many fine dresses and all such things,

That closets and drawers couldn’t hold them all;

She flung them on the floor of the hall,

“I hate the sight of them all,” quoth she.

And as for the turkey and Christmas tree,—

“They’re the pest of my life,” Miss Dorothy cried,

“I dread just the name of the Christmas tide.”

The dolls of all sizes came by the dozens

From uncles and aunts, from playmates and cousins.

Little dolls, big dolls, china and wax,

With dresses of reds and yellows and blacks.

Under the tables, and chairs and bed,

In closets, on stairs, those dolls were spread.

She gave them, and gave them, and gave them away,

And not with any of them could she play;

And she was so tired of the Christmas trees

She wished they were covered in deepest seas.

And as to the letters and words of thanks,—

They crowded before her, ranks upon ranks,

And begged to be written and said until

They seemed her whole mind to crowd and fill.

Now what Miss Dorothy Dill Magee

Did with her every-day Christmas tree,

And her every-day turkey, and pudding and pie,

I never have heard; but let’s you and I

Be just as thankful as we can be

That we have but one jolly Christmas tree.

FRED’S CHRISTMAS SHOPPING.

A Monologue for a Boy of Ten or Twelve Years.

Enters with arms full of bundles; begins talking while he puts them down on the table.

Fred. Say! But this Christmas shopping wears on a fellow! How in thunder the girls stand it—shopping the way they do—I can’t see.

If I had all the money in creation it wouldn’t be much better, for a fellow never knows what to get for the other fellow, you see.

There’s Sis, now—big Sis, I mean, of course—the little ones don’t count much. It took me the whole afternoon to think of something for her. She’s got most everything that counts for anything, like skates. All the fixings girls wear she don’t want, of course. She’s got plenty of jewelry—I did think some of a carnelian ring for her—and finally I thought of just the thing. (Tugs at a big candy box in his coat pocket, holds it up.) Candy! Yes, sir; that’s one thing a girl can never have too much of. And I got it all in licorice and gum drops, good, chewy ones—and “jawbreakers”—kinds that will last a while. (Nods emphatically.)

There’s a train of cars for little Sis (indicating packages as he talks). I think after Christmas I’ll build a track and make some semaphores and switches—and a bridge—and a station-house—all for those cars. ’Course I don’t care for cars, but I think it would be real fun to fix ’em all up for little Sis. And I’ll show her how to run ’em, too. “Dolls,” did you say? Oh, pshaw! She don’t want any more dolls. Cars are lots better. And Baby—’course he must have something, so I got him one of those funny faces that squeak. Say, do you know, I laughed till I was tired making that go through its performances. Squints one eye (illustrating), you know, and twists its mouth. Why, you’d laugh yourself to see it. Guess I’ll take it to school and show the boys on the sly. Won’t there be a rumpus, though? Gee!

I couldn’t leave out Cook Nora, so I got her that (showing cookie cutter). Good hint for some cookies, I think, and a joke into the bargain.

And here’s a ball for Bill. (Bounces it.) A number one. He lost mine last week. Now I can borrow his.

This (unwrapping a gay tissue paper parcel and showing a large candy heart) is for Nellie—she’ll like it. She’s pretty nice—for a girl—and she thinks I’m great!

And here’s the best of all. (Shows a knife, opening its many blades.) And who do you guess it’s for? Why, Mother, of course. I always give her a knife every Christmas. I always lose ’em, and so I am bound to get her another, you know. Now that’s the best one I ever got for her—four blades and a corkscrew! My! But that’ll be fun!

And Father—when I got to him I had only a nickel left, and couldn’t think of a thing, so I finally bought him a pipe. (Shows a clay pipe.) I know he don’t use that kind, but I thought it might do if he lost the other. I only had a nickel, and anyhow it’ll be just fine for soap bubbles. Oh, Christmas shopping isn’t so bad, after all.

IN GRANDMA’S DAY.

Illustrated with Eight Tableaux. Directions at Close.

This is recited by the “Grandma,” who sits and knits as she talks, with pauses when the tableaux are shown. She speaks slowly, in a reminiscent way, adapting her actions to the words.

During the showing of the tableaux she leans her head on her hand, or looks ahead of her, not at them, as if dreamily thinking of the pictures her memory calls up.

It’s cold today, and Christmas time is getting very near.

I wish I knew just what to do to help the season’s cheer.

Things nowadays have grown so strange that I am puzzled quite.

I wonder if they care at all that Christmas comes tonight.

Son John has grown so gray and tired; he used to beg to hear

The Christmas stories—he and Bess. How sweet they were—and dear!

(No. 1 Tableau—The Stories.)

I told them of the blessed Child who in the manger lay.

Without these stories, so he said, it wasn’t Christmas day.

But now his children do not care to have these stories told;

They go to Christmas parties, and they, too, look tired and old.

They do not romp and jump about as children used to do,

They dance at “balls,” and go to “clubs” until it makes me blue.

(No. 2 Tableau—Children at Ball.)

The Christmas stockings have gone out of present fashion quite;

I wonder if they care at all that Christmas comes tonight.

Has John forgotten? He is tired and worn with business cares—

But every night I used to hear the children say their prayers.

(No. 3 Double Tableau—John and Prayers.)

And when the blessed Christmas Eve came with its cold and snow,

They used to hang their stockings round the fireplace in a row.

What fun it was! How happily they planned for Christmas Day!

How hard to wait for morn to come to light their merry way.

(No. 4 Tableau—Children with Stockings.)

His children now are grown-up people, proper, most polite.

They never hang up stockings, that is nonsense in their sight.

The little son has bank notes, and the girls some jewels gay;

A sober “thank you,” or a frown are what they bring the day.

Paul fills his time with wondering why mother gave him “that,”

And Helen wishes she had had instead “that stunning hat.”

(No. 5 Tableau—Children Discontented.)

Oh, deary me! How sweet ’twould be to have them at my knee,

A-listening to the sweet old tales that mine once heard from me.

Now when I was a little girl, I had my stockings hung

At Christmas Eve beside the fire, and Christmas songs were sung.

And after breakfast, Christmas Day, to church we all must go

And hear the Christmas sermon—it was rather long, I know.

But then, I always liked it, because, just back of me,

Sat Philip Deane, and he and I were dearest chums, you see;

And after church we walked back home together, he and I.

I used to think when he was near the sermons weren’t so dry.

(No. 6 Tableau—Grandma and Philip.)

Dear Phil! He grew so tall and strong—the handsomest of all.

I remember how he danced with me at Susan Elmer’s ball.

On Christmas was our wedding day, and I remember still

How Philip bent above me then—how clear his words, “I will.”

(No. 7 Tableau—Wedding.)

And every Christmas after that grew fuller of earth’s joys

As to us came the blessed gifts of darling girls and boys.

How long ago it seems—and yet—I always hold them dear,

Those memories so full of love and sweetest Christmas cheer.

(No. 8 Final Tableau.)

DIRECTIONS.

• Characters—Seven Children, Five Adults.
• Children—Two Boys, Three Girls.
• Adults—Two Males, Three Females.

Group No. 1 signifies the boy and girl shown in tableau No. 1. Their costume is the old-fashioned style.

Group No. 2 signifies the boy and girl shown in tableau No. 2. Their costumes are modern.

By using these two groups and retaining the two styles of costume, the tableaux are much simplified, as group No. 1 retains the original costume, only putting a night dress or outdoor garments over it as required. Group No. 2 does not change.

Fewer can be used if necessary, but it will add greatly to the ease and quickness of presenting the tableaux if the full number indicated are used. By doing this very few changes in costume are required, and the characters, being all dressed, or requiring but little change, the tableaux can be quickly arranged.

STAGE.

• A-A-A—Curtains or screens.
• B-B—Frames.
• C-C—Curtains.
• G—Grandma’s chair.
• X and Z—Platforms.

One frame or setting can be used if the manager has her pictures well in mind; but as the illustrations or tableaux must be arranged quickly in order to be shown just at the proper moment, it will be easier and wiser to have two frames or settings, so that one picture can be placed while the other is being shown to the audience. The order of arrangement following will insure the best results.

Fig. 1. Fig. 2.

These settings should be frames of light timbers. See Fig. 1. The inner opening is seven feet high by eight feet wide and the outer dimensions two feet wider. This frame should be covered with a black cloth and a gray gauze stretched across the opening. The space behind the frame should be curtained or screened at the back and sides with black or dark gray. Fig. 2. The floor behind the frame should be raised two feet in order to bring it well into view of the audience, and of course the frame must correspond. The pictures are arranged between the frame and the screens.

The frame and gauze can be omitted, and the picture presented in the space surrounded by the screens or curtains; but of course the best way is the one indicated.

With all accessories ready, and some previous rehearsals, these tableaux can be easily and rapidly presented.

In front and to one side the Grandma sits in an easy chair. No other accessories. The tableaux are presented in the settings described above, either one frame in the middle of the stage and about four feet back, or two frames set as in Fig. 3.

Tableau 1—On platform X.

Young mother sitting, facing audience. Plain, dark dress, kerchief or lace crossed over bosom, hair in low knot at back of neck and brushed smoothly over the ears in the manner of ante-bellum days.

Boy of eight or ten stands at her left, his arm over her shoulder, her left arm around him. He is dressed in long, narrow trousers, white stockings and low slippers, frilled white shirt front, short jacket (to the waist only), wide collar and bow tie.

Girl of six or eight sits on stool or low chair, leaning on the mother’s lap, looking in the mother’s face as the mother looks down at her. Any dress with short “baby” waist and short sleeves. Hair in two smooth braids or loose curls.

Tableau 2—On platform Z.

Boy and girl from eight to twelve years dressed in extreme of modern style party costumes. He has her hand held high and they are in the attitude of some figure of the Lancers. Their bearing is sober and indifferent. These are children No. 2.

Tableau 3—

This is double and both curtains can be drawn at the same time. On platform Z sits “Son John,” a middle-aged man, gray, well dressed. He is in an office chair or an arm chair, his elbow on the table, his head on his hand. His attitude and face show weariness as he sits thinking.

On platform X, prepared while tableau No. 2 is being prepared and shown, children No. 1 kneel at the same mother’s knee in prayer. They are in white nightgowns and a small white bed is back of them. (This may be omitted.) If one frame only is used divide it by a movable screen, giving the single figure but one-third the space.

Tableau 4—Children with stockings. Platform X.

The back of the space represents a fireplace. Painted scenery can be used, or a framework to indicate it, with andirons in the fireplace. No fire needed. Two bulging stockings hang by the fireplace; one is small and has a doll showing in the top of it, and a very small child in nightdress is reaching up her arms to the doll.

The other girl in nightdress is sitting on the floor examining the contents of her stocking, with toys lying around her.

The boy, dressed as in tableau No. 1, is astride a rocking-horse in attitude of driving; or he is blowing a trumpet with one hand, while he drums with the other on a drum which is hung around his neck.

Tableau 5—Platform Z. Group No. 2.

Same costume as before. They sit facing each other (not too near). The boy has one hand in his pocket, leans lazily back in his chair and looks crossly at an open pocketbook held in the other hand.

The girl wears much jewelry and has an open jewel case in one hand and a watch and chain in the other, at which she looks scowlingly.

Tableau 6—Platform Z. Group No. 1.

Dress as in tableau No. 1, but with the addition of outdoor garments. These should be of the “Kate Greenaway” type, pictures of which can be seen in children’s books. They walk side by side, her hand in her muff, he holding out to her a candy heart. They are smiling shyly at each other.

Tableau 7—Platform X.

Wedding scene. Parson (who may be same one who personated “John” in tableau No. 3) in Episcopalian gown and bands, holding a prayer-book and looking at the couple before him. He stands at one side of the frame and close to it, slightly turned away from the audience, so that the bridal couple may partly face the audience.

The groom is tall and handsome, dressed in Colonial style, with white stockings, low buckled shoes, white satin knee breeches, long vest and long-skirted coat (color to choice), with wide lace ruffles at wrists and down the shirt front. He wears his hair long, powdered and tied behind with a black ribbon.

The bride is small and slender, dressed in full Colonial costume, with veil, etc. She either looks down or smiles up at him.

Tableau No. 8—

This is a double tableau, both platforms and curtains being used, and both pictures being shown at once.

On platform Z “Son John” stands just behind his children (group No. 2) and all look imploringly at Grandma and hold out their arms to her.

On platform X the bride and groom stand back at one side, his arm around her, both smiling at Grandma. A double gauze should hang before them inside the frame, so that they are but dimly seen.

Group No. 1 stand together at the right front of the space and both reach their arms to Grandma as they smile at her.

CURTAIN.

OLD AUNT DINAH’S CHRISTMAS.

A MONOLOGUE.

Go way fum hyar, chile! How you s’pose I gwine git ready fer Sandy Claws ter come if you chillun keeps a-hangin’ eroun’?

Doos Sandy Claws bring dem Chris’mus gif’s? Sho he do. Does I put gif’s inter dem stockin’s, too?

Laws! Yo’ jes’ talkin’ foolishness. How Sandy Claws gwine fill yer stockin’s ef dar ain’t no stockin’s dar I like ter know? An’ ain’t I de one dat mends ’em? Co’se I hangs up de stockin’s. Yer kaint ’spect Sandy Claws ter tote a passel ob stockin’s ’roun’ wid him. Don’t he be good ’nuff ter put tings in ’em I lak ter know?

You Pete! Ef yer opens dat ar drawer yer gwine cotch it sho’!

What’s in dar? Dat’s fer me ter know an’ you ter guess, mo’ ’special jes’ eroun’ Chris’mus.

Why kaint yer see? What’s dat? Ef Sandy Claws brungs de gif’s huccome I wants ter hide anyt’ing? See yhar, chile! Some dese days yo haid gwine ter bus’ clar open wid its sma’tness. Oh, go ’long off an’ ’muse yerse’f. Yer tongue hung in de middle an’ wags hese’f all ways ter wunst.

’Lisbeth Maude! Leave my wu’k basket ’lone, will yer? Yo tink dat look lak er doll dress, hey?

Yo’ jes’ better onhook dem eyes ob yourn f’um whar dey don’t b’long.

Ya-as. Dis Chris’mus Eve, sho’. Ya-as, Sandy Claws gwine come yere ef yer’s good. He ain’ gwine come whar de chilluns is bad an’ don’ min’ dey ma, an’ axes er lot ob fool questions.

Ma’y Bell! Quit teasin’ dat baby! Ain’t yer ’shame yerse’f? Yo ’spec’ Sandy Claws gwine brung anyt’ing to a leetle gal what—Abram Lincoln! Git outen dat cupboard! Quick, I say! My lan’! Ef I jes’ kin git er holt er yo’ fer five minutes I’m gwine mek yer dance! Yas sar! Yer better cla’r outen yhar!

Genevieve Blanch! Come yhar an’ wit dese chilluns an’ chuck ’em in baid! I’s plumb wore out, an’ ef dey axes any mo’ ob dere fool questions I gwine ter ex-plode! An’ den whar’ll Chris’mus be at?

TOO MUCH CHRISTMAS.

Christmas every day! Oh, what fun ’twould be.

With all the gifts and all the fun and jolly Christmas tree!

And yet, I’m not quite sure, we might get tired enough

Of fancy things and fol-de-rols and all the Christmas stuff

If it should come so often; and so, perhaps, it’s true

To keep it just the way it is I think is best, don’t you?

Christmas every day! One thing I can see

That all the gifts and all the sports and jolly Christmas tree

Can’t make us glad if we are bad and selfish and unkind.

Perhaps one way to make each day like Christmas we may find

Is just to feel like Christmas toward each one that we may see,

And make it happy, like that day, wherever we may be.

WE KNOW.

Recitation for Two Very Little Children.

We are just two little children,

Too small to work or sew,

But we know when it’s Christmas,

And what it’s for we know.

And we know what we’re good for;

It’s just to grow and grow,

And be two little children

For you to love and know.

So, Santa, dear old Santa,

Please come here soon, for oh!

We’re waiting and we’re waiting

Because we love you so.

WHAT COUNTS.

A MONOLOGUE.

Betty Holloway is a girl ten years old, and her mother is a widow with a large family whom she supports by making buttonholes. They are very poor, and Christmas is coming.

Betty (speaks).

Yes, Christmis is a-comin’, and I feel worser and worser the more it keeps a-comin’.

Ma an’ me we had all sorts of fun planned out, ’coz I’ve been helpin’ much as I could, and we’ve been savin’ up for Christmis.

Then what did Buddy do but go an’ break his arm, and that cost lots. (Sighing.) Yes—I know—the doctor didn’t charge nuthin’, but the drug store man did, ’coz Buddy had fever and had to have medicine to stop it.

And Benny (that’s Buddy’s twin), he wasn’t goin’ to be left behind, so he broke a winder playin’ ball, and ma paid for it. And it was hard work to keep ’em from fightin’; ’coz Bud he said a broke arm was worst, and Ben he would have it a broke winder was worst—cost as much, anyhow.

(Suddenly.) Betty Holloway! What you whinin’ about? Cryin’ ’fore you’re hurt, are you? (Scornfully.) Didn’t know you was that kind. What did ma tell you the other day?

“’Taint what comes to us, Betty,” she said, “It’s how we take it when it comes that counts,” she said. “We can’t sit down and cry, not one of us; we’ve all got to count for something. All of us.” My! When ma talks like that, with her eyes shinin’ and her lips smiley, it makes me think of the band goin’ by; you can’t help marchin’ in time and walkin’ straight, and you feel like you could tackle anything.

Well, sir, I’m goin’ to tackle Christmis, and I’ll make it count, now you see. With all these children on our hands ma ’n’ me has to hustle, but we’ll never let Christmis go and nothin’ doin’.

Now, le’s see. “When you ain’t got money you got to make your know-how and your hands do instead,” ma says. That’s true this time if it never was before. (Looks at her hands.) Ten fingers—and that’s all. (Shakes head doubtfully, then cheerily says:) Ho, you Betty! Where’s your know-how? Stir that up a bit and get to work. Well—first of all there’s the twins. They’re always playin’ store. I’ll make ’em a store. I’ve got a box the grocer gave me yesterday, and that shall have shelves in it, and a counter; and I know where to get some little bottles, and I’ve got two cardboard boxes, big ones, and I’ll make no end of things out of ’em—little boxes and scales, and sugar-scoop—’n’ lots of things. Sand shall be sugar, and plenty of things will do for spice and coffee, and such. Oh, you’ll see! It’ll be a nilligant store. I don’t b’lieve that one in the toy store is much nicer. And I can make paper bags, and—oh, what fun! And won’t they be tickled!

Then, besides the store I’ll make ’em some paper soldier caps. Ma gave me some be-u-tiful paper last week; it came around a bundle of work. And some badges—I’ve got some silver paper that come ’round some chocolate once—I found it; it’ll make beauty badges. Oh, I tell you! They’ll be so fine they can hardly step. Stripes down their trousers, too. Why, I couldn’t get ’em anything that would tickle ’em more if I had a whole bag of money. And this won’t cost a cent.

Then there’s Jennie and Bess. They’re not twins, but they might just as well be. They’re just of a size, if one is older ’n the other, and they look just alike, and they want to do the same things.

’Course it’s dolls for them. I had meant to get ’em some of those dear little ones with real hair and arms and legs that move. Oh, dear! (Sighs. Then, straightening up.) Keep your whinin’ in your pocket, Betty. I’ve told you that before. I’m makin’ this Christmis count for a good time, and whinin’ isn’t part of a good time; so keep it still, I say.

Well—about the dolls—let’s see. Oh, I know. I’ll make ’em a playhouse. I’ve got lots and lots of cardboard spool boxes, and you’d be s’prised to see what dandy things they make; beds, and chairs, and sofys—why, I can make everything a doll house could want. Dolls will have to be rag ones of course, which isn’t so very stylish; but then! The house will be so fine they’ll hardly notice the dolls, I guess. So that settles it for the girls.

Then there’s the baby. He’s most three and such a dear! But sakes alive! He’s easy. Why, a little box with a string to it makes a fine wagon. And I can make him a nilligant ball out o’ bright pieces. And I’ll ask Mr. Sweeny if I may go into his planing mill and pick up some little blocks; there’s all sorts of cute-shaped ones there. Oh, baby’ll be happy.

Now, I haven’t got a tree, and I can’t get one—there’s no use talking about it—but I can get a couple or so of barrel hoops and trim ’em up with paper fringe and things, and tie the little things to ’em. They’ll look real Christmis-y hung up on the wall, and the store and playhouse can be underneath. And I’ve got a red bell I saved from last year. I can make it real pretty! And as to candy and such, the youngsters may get some at the Sunday School, and I’ll coax ’em to let me save it for ’em, and I’ll trim things up with it.

And ma (stops and looks troubled). Ma must have something, she’s so good. Why—sir! My mother is as brave as ever a soldier was! Talk about battles! If my mother doesn’t have as hard things to do as if it was battles I would just like to know. She deserves Christmis more ’n any of ’em. But, oh, dear! What? Well, I know how to make a dear little paper-fold tray for pins, and I’ll make a big bunch of twisted tapers; they’re awful handy, and they save matches, you know. And—le’s see. Yes, I’ll make a whole bunch of paper flowers. Hooray! That’s a great idea. They won’t fade, and they’ll stay pretty better ’n the real ones. Oh, goody, goody! Won’t we have a lovely Christmis?

Mother’s right. She always is. “’Taint what comes to us, it’s how we take it that counts.”

I thought at first we couldn’t have any Christmis, and here we’re going to have a perfectly lovely one.

Me? Presents for me? Oh, I don’t need presents. I’m going to have all the fun of makin’ ’em and some more fun seein’ the others have ’em. And when my mother looks at me with that shine in her eyes and says, “Betty, you’re my comfort,” the way she does, do you s’pose there’s any gift in the whole world could make me feel so glad?

Oh, Christmis is great, all right, but a mother like my mother—what counts—beats all your Christmises holler. Merry Christmis!

THE BELL SONG.

Chorus for Thirteen Children.

They may be all boys, all girls or both together, and there may be as many additional as desired.

SONG.

Tune: “Jingle Bells.”

Hear the Christmas bells as they gayly ring.

And our voices join as merrily we sing.

All the world is glad, hearts with joy are light,

For ’tis the best of all the year and Christmas comes tonight.

CHORUS.

Merry bells, merry bells, ring, oh, ring today.

Oh, how happily we sing, for joy is on the way.

Christmas bells, Christmas bells ring your music sweet,

While our hearts keep merry time to children’s dancing feet.

Tender are our thoughts, tears we bid depart,

Happiness we long to bring to every saddened heart.

Join us as we sing, banish every tear,

Christmas is the dearest time that comes in all the year.

CHORUS.

Pain is banished quite, sorrow goes away,