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Laura Secord, the heroine of 1812: A Drama; and Other Poems

By Sarah Anne Curzon
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Table of Contents
  • LAURA SECORD, THE HEROINE OF 1812:
  • PREFACE.
  • CONTENTS
    • FABLES: ORIGINAL AND FROM THE FRENCH.
    • TRANSLATIONS.
    • NOTES
    • APPENDICES
  • MEMOIR OF MRS. SECORD
  • LAURA SECORD:
    • DRAMATIS PERSONAE.
  • LAURA SECORD: THE HEROINE OF THE WAR OF 1812.
    • ACT I.
      • SCENE 1.—Queenston. A farmhouse.
      • SCENE 2.—The same place and the same hour.
      • SCENE 3.—Mrs. Secord's bedroom. She is walking up and down in much agitation.
      • SCENE 4—Daybreak on the 23rd June, 1813.
      • SCENE 5.—The Road at the foot of Queenston Heights.
    • SCENE 1.—Queenston. A farmhouse.
    • SCENE 2.—The same place and the same hour.
    • SCENE 3.—Mrs. Secord's bedroom. She is walking up and down in much agitation.
    • SCENE 4—Daybreak on the 23rd June, 1813.
    • SCENE 5.—The Road at the foot of Queenston Heights.
    • ACT II.
      • SCENE 1.—The great kitchen at St. David's Mill. Breakfast-time.
      • SCENE 2.—A beautiful glade.
      • SCENE 3—A thick wood through which runs a forest path, leading to a high beech ridge.
      • SCENE 4.—The forest, with the sun nearly below the horizon, its rays illuminate the tops of the trees, while all below is dark and gloomy. Bats are on the wing, the night-hawk careers above the trees, fire-flies flit about, and the death-bird calls.
    • SCENE 1.—The great kitchen at St. David's Mill. Breakfast-time.
    • SCENE 2.—A beautiful glade.
    • SCENE 3—A thick wood through which runs a forest path, leading to a high beech ridge.
    • SCENE 4.—The forest, with the sun nearly below the horizon, its rays illuminate the tops of the trees, while all below is dark and gloomy. Bats are on the wing, the night-hawk careers above the trees, fire-flies flit about, and the death-bird calls.
    • ACT III
      • SCENE 1.—Decau's house, a stone edifice of some pretensions. The parlour, with folding doors which now stand a little apart. A sentry is visible, on the other side of them. The parlour windows are barricaded within, but are set open, and a branch of a climbing rose with flowers upon it, swings in. The sun is setting, and gilds the arms that are piled in one corner of the room. A sword in its scabbard lies across the table, near which, in an arm-chair, reclines Lieutenant Fitzgibbon, a tall man of fine presence; in his right hand, which rests negligently on the back of the chair, he holds a newspaper of four pages, "The Times," from which he has been reading. Several elderly weather-beaten non-commissioned officers and privates, belonging to the 49th, 104th, and 8th regiments, together with a few militiamen and two cadets share the society of their superior officer, and all are very much at their ease both in appointments and manner, belts and stocks are unloosed, and some of the men are smoking.
      • SCENE 2.—Morning twilight. A little wayside tavern at a cross-road.
      • SCENE 3.—The beech ridge. Frequent firing. The Indian war-whoop. Bugles sounding the advance.
    • SCENE 1.—Decau's house, a stone edifice of some pretensions. The parlour, with folding doors which now stand a little apart. A sentry is visible, on the other side of them. The parlour windows are barricaded within, but are set open, and a branch of a climbing rose with flowers upon it, swings in. The sun is setting, and gilds the arms that are piled in one corner of the room. A sword in its scabbard lies across the table, near which, in an arm-chair, reclines Lieutenant Fitzgibbon, a tall man of fine presence; in his right hand, which rests negligently on the back of the chair, he holds a newspaper of four pages, "The Times," from which he has been reading. Several elderly weather-beaten non-commissioned officers and privates, belonging to the 49th, 104th, and 8th regiments, together with a few militiamen and two cadets share the society of their superior officer, and all are very much at their ease both in appointments and manner, belts and stocks are unloosed, and some of the men are smoking.
    • SCENE 2.—Morning twilight. A little wayside tavern at a cross-road.
    • SCENE 3.—The beech ridge. Frequent firing. The Indian war-whoop. Bugles sounding the advance.
  • POEMS
    • A BALLAD OF 1812.
    • THE QUEEN'S JUBILEE, JUNE 21ST, 1887.
    • THE HERO OF ST. HELEN'S ISLAND. CANADA'S TRIBUTE TO THE TWENTY-FOURTH (2ND WARWICKSHIRE) REGIMENT.
    • OCTOBER 13TH, 1872. A PLEA FOR THE VETERANS OF 1812.
    • LOYAL.
    • ON QUEENSTON HEIGHTS.
    • NEW ORLEANS, MONROE, MAYOR, APRIL 29, 1862. THE HAULING DOWN OF THE STATE FLAG FROM OVER THE CITY HALL.
    • THE EMIGRANT'S SONG.
    • TO THE INDIAN SUMMER.
    • IN JUNE.
    • LIVINGSTONE. OBIT MAY 1ST, 1883.
    • ON SEEING THE ENGRAVING "THE FIRST VISIT OF QUEEN VICTORIA TO HER WOUNDED SOLDIERS ON THEIR RETURN FROM THE CRIMEA."
    • TO A CHILD SINGING "JESUS LOVES ME, THIS I KNOW."
    • HOME.
    • LOST WITH HIS BOAT.
    • LIFE IN DEATH.
    • INVOCATION TO RAIN. MAY, 1874.
    • REMONSTRANCE WITH "REMONSTRANCE." (IN "CANADIAN MONTHLY," APRIL, 1874.)
    • THE ABSENT ONES.
    • AWAY.
    • POOR JOE.
  • FRAGMENTS.
    • "I WISH YOU A HAPPY NEW YEAR."
    • THE LIFE-BOAT MAN.
  • THE SWEET GIRL GRADUATE. A COMEDY IN FOUR ACTS.
    • ACT I.
      • SCENE 1.—Scugog.
      • SCENE 2.—A lady's bedroom.
      • SCENE 3.—The same room. Evening.
    • SCENE 1.—Scugog.
    • SCENE 2.—A lady's bedroom.
    • SCENE 3.—The same room. Evening.
    • ACT II.
      • SCENE 1.—A bedroom in a Toronto boarding-house. KATE BLOGGS in bed.
    • SCENE 1.—A bedroom in a Toronto boarding-house. KATE BLOGGS in bed.
    • ACT III.
      • SCENE 1.—The same as Scene 2, Act I.
    • SCENE 1.—The same as Scene 2, Act I.
    • ACT IV.
      • SCENE 1.—A boarding-house dining-room richly decorated with flowers and plants. Twenty gentlemen, among whom is Mr. Tom Christopher, each accompanying a lady, one of whom is Miss Blaggs. The cloth is drawn, and dessert is on the table.
      • SCENE 2.—The same.
    • SCENE 1.—A boarding-house dining-room richly decorated with flowers and plants. Twenty gentlemen, among whom is Mr. Tom Christopher, each accompanying a lady, one of whom is Miss Blaggs. The cloth is drawn, and dessert is on the table.
    • SCENE 2.—The same.
  • FABLES: ORIGINAL AND FROM THE FRENCH.
    • THE CHOICE.
    • INSINCERITY.
    • THE TWO TREES. FROM THE FRENCH OF P. LE MAY.
    • FABLE AND TRUTH.
    • THE CALIPH.
    • THE BLIND MAN AND THE PARALYTIC.
    • DEATH.
    • THE HOUSE OF CARDS.
    • THE BULLFINCH AND THE RAVEN.
    • THE WASP AND THE BEE.
  • TRANSLATIONS
    • A MEMORY OF THE HEROES OF 1760. FROM THE FRENCH OF P. LE MAY.
    • THE SONG OF THE CANADIAN VOLTIGEURS. FROM THE FRENCH OF P. LE MAY.
    • THE LEGEND OF THE EARTH. FROM THE FRENCH OF JEAN RAMEAU.
    • THE EMIGRANT MOUNTAINEER. FROM THE FRENCH OF CHATEAUBRIAND.
    • FROM "LIGHTS AND SHADES." FROM THE FRENCH OF VICTOR HUGO.
    • VILLANELLE TO ROSETTE FROM THE FRENCH OF PHILIPPE DEPORTES, SIXTEENTH CENTURY.
  • NOTES.
    • LAURA SECORD, THE HEROINE OF 1812 A DRAMA.
      • NOTE 1, page 11.
      • NOTE 2, page 12.
      • NOTE 3, page 13.
      • NOTE 4, page 15.
      • NOTE 5, page 16.
      • NOTE 6, page 18.
      • NOTE 7, page 19.
      • NOTE 8, page 25.
      • NOTE 9, page 25.
      • NOTE 10, page 26.
      • NOTE 11, page 27.
      • NOTE 12, page 27.
      • NOTE 13, page 27.
      • NOTE 14, page 29.
      • NOTE 15, page 30.
      • NOTE 16, page 30.
      • NOTE 17, page 37.
      • NOTE 18, page 37.
      • NOTE 19, page 38.
      • NOTE 20, page 40.
      • NOTE 21, page 41.
      • NOTE 22, page 47.
      • NOTE 23, page 50.
      • NOTE 24, page 50.
      • NOTE 25, page 50.
      • NOTE 26, page 55.
      • NOTE 27, page 55.
      • NOTE 28, page 59.
      • NOTE 28a, page 60.
      • NOTE 29, page 59.
      • NOTE 30, page 59.
      • NOTE 31, page 60.
      • NOTE 32, page 60.
      • NOTE 33, page 60.
      • NOTE 34, page 63.
      • NOTE 35, page 64.
      • NOTE 36, page 64.
      • NOTE 37, page 64.
      • NOTE 38, page 65.
      • NOTE 39, page 65.
    • NOTE 1, page 11.
    • NOTE 2, page 12.
    • NOTE 3, page 13.
    • NOTE 4, page 15.
    • NOTE 5, page 16.
    • NOTE 6, page 18.
    • NOTE 7, page 19.
    • NOTE 8, page 25.
    • NOTE 9, page 25.
    • NOTE 10, page 26.
    • NOTE 11, page 27.
    • NOTE 12, page 27.
    • NOTE 13, page 27.
    • NOTE 14, page 29.
    • NOTE 15, page 30.
    • NOTE 16, page 30.
    • NOTE 17, page 37.
    • NOTE 18, page 37.
    • NOTE 19, page 38.
    • NOTE 20, page 40.
    • NOTE 21, page 41.
    • NOTE 22, page 47.
    • NOTE 23, page 50.
    • NOTE 24, page 50.
    • NOTE 25, page 50.
    • NOTE 26, page 55.
    • NOTE 27, page 55.
    • NOTE 28, page 59.
    • NOTE 28a, page 60.
    • NOTE 29, page 59.
    • NOTE 30, page 59.
    • NOTE 31, page 60.
    • NOTE 32, page 60.
    • NOTE 33, page 60.
    • NOTE 34, page 63.
    • NOTE 35, page 64.
    • NOTE 36, page 64.
    • NOTE 37, page 64.
    • NOTE 38, page 65.
    • NOTE 39, page 65.
    • A BALLAD OF 1812.
      • NOTE 1, page 70.
      • NOTE 2, page 70.
      • NOTE 3, page 72.
      • NOTE 4, page 73.
      • NOTE 5, page 73.
      • NOTE 6, page 74.
      • NOTE 7, page 74.
      • NOTE 8, page 75.
      • NOTE 9, page 80.
      • NOTE 10, page 82.
      • NOTE 11, page 83.
    • NOTE 1, page 70.
    • NOTE 2, page 70.
    • NOTE 3, page 72.
    • NOTE 4, page 73.
    • NOTE 5, page 73.
    • NOTE 6, page 74.
    • NOTE 7, page 74.
    • NOTE 8, page 75.
    • NOTE 9, page 80.
    • NOTE 10, page 82.
    • NOTE 11, page 83.
    • JUBILEE POEM.
      • NOTE 1, page 84.
    • NOTE 1, page 84.
    • THE HERO OF ST. HELEN'S ISLAND.
      • NOTE 1, page 86.
    • NOTE 1, page 86.
    • LIVINGSTONE.
      • NOTE 1, page 101.
    • NOTE 1, page 101.
    • THE SWEET GIRL GRADUATE.
      • NOTE 1, page 122.
      • NOTE 2, page 127.
      • NOTE 3, page 136.
    • NOTE 1, page 122.
    • NOTE 2, page 127.
    • NOTE 3, page 136.
  • APPENDICES.
    • APPENDIX NO. 1.
    • APPENDIX NO. 2.
    • APPENDIX NO. 3.
    • APPENDIX NO. 4.
    • APPENDIX NO. 5.
    • APPENDIX NO. 6.
    • APPENDIX NO. 7.
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