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+The Project Gutenberg EBook of The Dramatization of Bible Stories, by 
+Elizabeth Erwin Miller Lobingier
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: The Dramatization of Bible Stories
+       An experiment in the religious education of children
+
+Author: Elizabeth Erwin Miller Lobingier
+
+Release Date: March 1, 2012 [EBook #39022]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMATIZATION OF BIBLE STORIES ***
+
+
+
+
+Produced by Curtis Weyant, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+THE DRAMATIZATION OF BIBLE STORIES
+
+
+
+
+THE UNIVERSITY OF CHICAGO PRESS
+CHICAGO, ILLINOIS
+
+THE BAKER & TAYLOR COMPANY
+NEW YORK
+
+THE CAMBRIDGE UNIVERSITY PRESS
+LONDON
+
+THE MARUZEN-KABUSHIKI-KAISHA
+TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI
+
+[Illustration: A SHEPHERD]
+
+
+
+
+THE DRAMATIZATION
+OF BIBLE STORIES
+
+AN EXPERIMENT IN THE RELIGIOUS
+EDUCATION OF CHILDREN
+
+_By_
+
+ELIZABETH ERWIN MILLER
+
+(_Elizabeth Miller Lobingier_)
+
+[Illustration]
+
+THE UNIVERSITY OF CHICAGO PRESS
+CHICAGO, ILLINOIS
+
+
+
+
+COPYRIGHT 1918 BY THE UNIVERSITY OF CHICAGO
+ALL RIGHTS RESERVED. PUBLISHED APRIL 1918
+SIXTEENTH IMPRESSION OCTOBER 1934
+
+COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO PRESS
+CHICAGO, ILLINOIS, U.S.A.
+
+
+
+
+TO MY LITTLE FRIENDS, THE CHILDREN IN THE
+DRAMATIC CLUB OF THE HYDE PARK CHURCH OF DISCIPLES,
+THIS BOOK IS LOVINGLY DEDICATED
+
+
+
+
+GENERAL PREFACE
+
+
+The progress in religious education in the last few years has been
+highly encouraging. The subject has attained something of a status as a
+scientific study, and significant investigative and experimental work
+has been done. More than that, trained men and women in increasing
+numbers have been devoting themselves to the endeavor to work out in
+churches and Sunday schools the practical problems of organization and
+method.
+
+It would seem that the time has come to present to the large body of
+workers in the field of religious education some of the results of the
+studies and practice of those who have attained a measure of
+educational success. With this end in view the present series of books
+on "Principles and Methods of Religious Education" has been undertaken.
+
+It is intended that these books, while thoroughly scientific in
+character, shall be at the same time popular in presentation, so that
+they may be available to Sunday-school and church workers everywhere.
+The endeavor is definitely made to take into account the small school
+with meager equipment, as well as to hold before the larger schools the
+ideals of equipment and training.
+
+The series is planned to meet as far as possible all the problems that
+arise in the conduct of the educational work of the church. While the
+Sunday school, therefore, is considered as the basal organization for
+this purpose, the wider educational work of the pastor himself and that
+of the various other church organizations receive due consideration as
+parts of a unified system of education in morals and religion.
+
+                                              THE EDITORS
+
+
+
+
+CONTENTS
+
+
+                                                                 PAGE
+
+LIST OF ILLUSTRATIONS                                            xiii
+
+INTRODUCTION BY EDWARD SCRIBNER AMES                                1
+
+CHAPTER
+
+I. EDUCATIONAL AIMS IN DRAMATIZATION                                5
+
+II. THE METHOD OF DRAMATIZATION                                     9
+
+III. THE DRAMATIZATION OF "JOSEPH"                                 17
+
+IV. THE DRAMATIZATION OF "DAVID AND GOLIATH"                       44
+
+ V. THE DRAMATIZATION OF "MOSES IN THE BULRUSHES"                  52
+
+VI. THE DRAMATIZATION OF "RUTH"                                    59
+
+VII. THE DRAMATIZATION OF "QUEEN ESTHER"                           68
+
+VIII. THE DRAMATIZATION OF "ABRAHAM AND THE THREE GUESTS"          84
+
+IX. THE DRAMATIZATION OF "DANIEL IN THE LIONS' DEN"                93
+
+X. THE DRAMATIZATION OF NEW TESTAMENT PARABLES                     98
+
+XI. THE DRAMATIC QUALITIES IN A GOOD STORY                        109
+
+XII. BIBLE STORIES SUITABLE FOR DRAMATIZATION                     113
+
+XIII. STAGE SETTING AND PROPERTIES                                130
+
+XIV. COSTUMING                                                    144
+
+XV. THE ORGANIZATION OF A CHURCH DRAMATIC CLUB                    152
+
+INDEX                                                             161
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+A SHEPHERD                                               Frontispiece
+
+FIGURE                                                           PAGE
+
+1. PHARAOH'S COURT                                                 42
+
+2. A SCENE FROM DAVID AND GOLIATH                                  47
+
+3. ESTHER AND MORDECAI                                             73
+
+4. ESTHER DANCES BEFORE THE KING                                   75
+
+5. THE KING HOLDS OUT THE SCEPTER TO ESTHER                        79
+
+6. QUEEN ESTHER PLEADS FOR HER PEOPLE                              81
+
+7. THE THREE GUESTS BLESS ABRAHAM AND SARAH                        88
+
+8. THE WISE AND FOOLISH VIRGINS                                   101
+
+9. THE GOOD SAMARITAN                                             104
+
+10. WATER JUGS AND OTHER CLAY UTENSILS                            132
+
+11. WOMAN CARRYING WATER JUG                                      133
+
+12. ANCIENT WELLS IN PALESTINE                                    134
+
+13. ANCIENT WEAPONS                                               135
+
+14. A SHEPHERD'S SLING AND LOOM FOR WEAVING SLING                 136
+
+15. SICKLES                                                       137
+
+16. SCEPTER                                                       138
+
+17. SHIELDS                                                       139
+
+18. TRUMPETS                                                      140
+
+19. SIGNET RING                                                   141
+
+20. LAMP                                                          141
+
+21. EGYPTIAN DESIGNS                                              142
+
+22. HELMETS AND CROWNS                                            143
+
+23. A GROUP OF CHILDREN, SHOWING COSTUMES AND A TRUMPET           145
+
+24. THE COSTUME OF ABRAHAM                                        147
+
+25. TWO KINDS OF COSTUMES--THE RICH SHEPHERD AND THE SERVANT      148
+
+26. COSTUMES SHOWING SANDALS MADE BY THE CHILDREN                 149
+
+27. COSTUMES                                                      150
+
+
+
+
+INTRODUCTION
+
+BY EDWARD SCRIBNER AMES
+
+
+This book is its own best commendation, for it is a most convincing
+record of an important experiment in education. It is the more
+interesting because it is a real contribution to educational method
+from the field of religious education, which too often only
+appropriates and imitates what has been achieved elsewhere.
+
+This experiment is founded upon the powerful dramatic impulse of
+children and upon the educative value of the natural expression of that
+impulse under the mutual self-criticism of the participating group. The
+function of the leader has been that of an unobtrusive member of the
+group contributing such suggestions from a wider experience and deeper
+insight as would naturally elicit and guide that criticism. That this
+fine art of teaching has been realized with unusual skill in this
+experiment will be apparent to the discerning readers of this record,
+as it has been by those who have watched the progress of the work
+itself.
+
+Too much emphasis cannot be given to the fact that the primary aim of
+this use of dramatization is the education of the children and not the
+entertainment of spectators, although, when such dramatization is
+rightly estimated, nothing could be more genuinely entertaining. Those
+who are expecting to find here ready-made plays for children, with
+directions for staging them, will be properly disappointed, while those
+who are seeking illustrations of vital methods of education through the
+cultivation and use of the dramatic impulse will be amply rewarded.
+
+The latter will appreciate the frank portrayal of the early and cruder
+efforts of the children and their own critical reactions due to further
+reflection and experimentation. These will understand something of the
+ability and patience that Miss Miller has employed in allowing the
+native impulse to develop naturally and to mature through the reactions
+of the children themselves. They will realize that the little people
+actually formulated the scenes and the lines of the dramas even if it
+required many weeks in some cases to do so; that it is better for the
+actors to make their own costumes and stage properties, however simple
+they may be; that it is more educative for each child to be familiar
+with all of the parts, and thus with the drama as a whole, than to be
+coached ever so cleverly to impersonate a single character; and that
+facility and power in dramatization are thus attained which are
+permanent sources of pleasure and understanding.
+
+It need scarcely be added that the biblical stories are exceptionally
+well suited to such use and that when so employed they yield their
+profound religious quality directly in deep and lasting impressions.
+The children who have been so fortunate as to belong to this dramatic
+club not only "know" these stories, but they have lived them in an
+intimate and durable experience.
+
+
+
+
+CHAPTER I
+
+EDUCATIONAL AIMS IN DRAMATIZATION
+
+
+Dramatization is not commonly recognized as a means of vitalizing the
+religious education of children. The public school has found it to be
+one of the most effective methods for enriching the pupil's ideas of
+given units of subject-matter and for leading to the establishment of
+permanent interests and of habitual modes of action.
+
+The use of dramatization in the school in order to accomplish these
+ends finds its justification in certain fundamental principles of
+teaching. Subject-matter is so presented that the important ideas stand
+out clearly. These ideas are mastered by utilizing them in some form of
+activity which leads to self-expression on the part of the children.
+Judgments are formed and conclusions are reached when children enter
+actively into a situation which presents a problem; ideas become their
+own through experience. Through dramatization children give expression
+to these ideas in the light of their own interpretation. The
+formulation of standards, the placing of values, and the realization of
+truths and ideals follow as direct results of actively entering into
+the life-experience of others.
+
+From a psychological point of view ideas and ideals, whether religious
+or secular, are developed according to the same general laws.
+Furthermore, the principles of teaching which are effective in the
+daily classroom must be equally significant in religious training. It
+follows, therefore, that dramatization and other forms of
+self-expression are as valuable in attaining the aims of the Sunday
+school as they are in teaching the curriculum of the day school.
+Through dramatizing a Bible story children come into a comprehension of
+the life-experiences of a highly religious people; they are forming
+their own standards and ideals through meeting and solving the simple
+life-problems of the Hebrews. Each child has as great an opportunity
+for self-expression through dramatizing a Bible story as that afforded
+through dramatizing any other story. He not only develops his
+individuality, but through this kind of work he must necessarily come
+into the realization of his place within the group, as is the case in
+all well-directed dramatization.
+
+The period is rapidly passing in which dramatics is looked upon by
+church members as being sinful and not in any way to be connected with
+the church. This view is a relic of a conception of religion in which
+all forms of freedom and pleasure were considered evil. People
+interested in religious education are now realizing that dramatization
+is not an activity foreign to children, but that it is an outgrowth of
+the play interest which is natural to all children. They are aware of
+the fact that dramatization becomes evident in the earliest stages of
+childhood through the desire of children to imitate in play the
+surrounding social activities. Many churches have already made use of
+these natural tendencies by incorporating organized play as one of
+their activities. Since dramatization is but a specialized form of
+organized play, and inasmuch as it can be used very effectively in
+vitalizing the religious training which all children should receive, it
+deserves a wider recognition and adoption.
+
+This book contains a description of a children's dramatic club which
+has been conducted as a part of the work of the Sunday school of the
+Hyde Park Church of Disciples, Chicago, Illinois, for the purpose of
+accomplishing the ends stated above. Before this dramatic club was
+organized a small amount of dramatization was attempted in certain of
+the classes during the Sunday-school period. The enthusiastic response
+from the children to this new phase of the work revealed the need for
+more of this kind of activity, and as a consequence it was decided to
+devote one hour each Sunday afternoon to the dramatization of Bible
+stories. The membership of the club included children ranging from six
+to fourteen years of age. The average attendance has been from twenty
+to thirty children each Sunday throughout these four years of the
+club's existence.
+
+This organization was attempted more or less as an experiment with the
+hope that definite results could be accomplished. The practical
+problems which have arisen, the details of method of procedure, and the
+results which have been secured will be discussed in the following
+chapters.
+
+Several of the stories are given in the dramatic form which the
+children have worked out. This is done for the sake of showing what
+kind of a result may be secured. It is hoped that these plays, as they
+are written here, will not be given to children to learn and act; such
+a procedure would be entirely contrary to the spirit and purpose in
+which this experiment is set forth.
+
+
+
+
+CHAPTER II
+
+THE METHOD OF DRAMATIZATION
+
+
+Two very different aims are revealed in the present-day employment of
+dramatization. Children are often required to give a dramatic
+production at some entertainment or social event. For this purpose a
+story is selected which has already been put into dramatic form. The
+parts are assigned by the leader, and the children are asked to
+memorize these parts in exact form and order. The children are then
+trained to give their parts according to directions. Throughout the
+preparation of the play the finished production is the goal of
+endeavor. In such instances as this the children are a means to an end,
+and their own training and development are usually sacrificed in the
+leader's attempt to secure a highly finished product.
+
+In contrast to the case just mentioned, dramatization is looked upon as
+an important educational factor in the development of children. From
+this point of view dramatization is utilized in developing on the part
+of the child intense and permanent interests in the words and deeds of
+noble characters, in developing power of natural expression in them as
+individuals and as members of a group, and in raising standards of
+action to higher levels by giving forceful expression to worthy ideals.
+These aims are realized through the use of informal methods which give
+the children abundant opportunity for initiative and choice. The
+children themselves prepare their dramatization under the guidance of a
+leader who has a vision of the results which may be secured and who is
+skilful in directing the activities toward these ends.
+
+The little dramatic club herein described adopted at the outset the
+point of view outlined in the preceding paragraph. Its organization was
+based on the belief that the development of boys and girls is a much
+more vital consideration than the development of a dramatic production.
+Throughout its history the chief purpose of the club has been to
+promote the growth of children through the free, spontaneous
+dramatization of Bible stories. In order to accomplish this aim, an
+informal method of working out dramatizations has been used. The public
+presentation of a play is only incidental to the children; there is no
+need for them to act out a story that has been dramatized by someone
+else. Their aim is realized in the joy of actually living the story
+over each time they play it, though this may result in the highest form
+of entertainment. That children should "speak lines" given them to
+memorize for the sake of entertainment is deadly--to the child as well
+as to the audience.
+
+There is some difference of opinion as to the value of the classic
+language of the Bible for children, and many advocate the use of modern
+or simplified versions. If, however, the children have made their own
+efforts to dramatize the story, using first of all their own words, it
+is easy to help them to adopt much of the beautiful classic language in
+putting the work into its final form. The biblical wording helps to
+give the play its proper dignity and atmosphere, at the same time
+acquainting the children with the exact language of a piece of good
+literature.
+
+The method of procedure which is followed in leading children to work
+out their own dramatizations varies slightly according to circumstances
+but in the main is as follows:
+
+A story is chosen by the leader which includes the elements essential
+for a good dramatization, and it is told to the children in such a way
+that the action or events are emphasized. Direct discourse is used in
+the telling, and an effort is made to develop simple and vivid mental
+pictures. The children divide the story into its most important
+pictures or scenes. They then suggest in detail what should take place
+in the first scene, and some of them are asked to act it out as they
+think it should be done. This first presentation is sometimes stiff
+and more or less self-conscious. The leader raises such questions as,
+"Which parts did these children do best?" "Why?" "Where can they
+improve it?" "What would you do to make the part better?" "What do you
+think should have been said here?" This leads to constructive criticism
+of the scene by the children themselves rather than by the leader in
+charge. Each child is eager to offer suggestions at this point and is
+anxious for an opportunity to give his own interpretation of the part
+by acting it out. He formulates his words as he acts. He forgets
+himself in the genuine interest which arises as he relives the
+experience of someone else. Each scene is developed in a similar
+manner.
+
+The leader encourages freedom in individual interpretation, yet she is
+ever keeping before the children the fact that they are trying to give
+a true portrayal of the characters or conditions. It is often valuable
+to have a discussion of individual characters for the purpose of
+securing clear ideas concerning them. After all have tried various
+parts and have offered many suggestions, they may be led to choose that
+interpretation which seems most adequate, or they may all work out the
+interpretation of a part which will involve the ideas of many. After
+the story has been played through a few times, each child should be
+able to assume any character. It is an essential part of this method
+to see that every child has a different part each time.
+
+Very often, when the play develops to this stage, some one child, or
+several, will suddenly become aware of repetitions in the scenes and
+will suggest that some scenes are unnecessary. It is then the time to
+refer to the number of scenes in a good drama, and to lead the children
+to realize that in any good play much is left to the imagination of the
+audience, and that only the essential scenes need be shown. By means of
+discussions the play is worked over again, and it is finally reduced to
+the three or four scenes that seem absolutely necessary.
+
+In many instances the dramatization needs no further development. None
+of the words have been accepted as definite, for, although the thought
+given is the same each time, exactly the same words are never said
+twice. The story is interpreted slightly differently with each
+performance. This interpretation, without obtaining a highly finished
+result, is best for short stories or incidents. Fables and parables may
+be used well in this way. The action follows continuously with the
+development of the thought.
+
+In the case of a story which has a more detailed plot and which
+involves more complicated situations the development may go further:
+the wording is carefully worked out by the children and the language of
+the Bible is employed. The words which are finally used by the
+children may be composite results developed by the group as a whole, or
+after they have gone as far as they can with them the leader, or a
+committee composed of several children with the leader, may suggest a
+final form which is good from a literary standpoint.
+
+Children either volunteer or are chosen by the others to take finally
+certain parts. There is a marked socializing influence evident in the
+fact that a child is chosen by the other children for the good of the
+group and not for self-aggrandizement or partiality toward a friend. It
+is always the case after a few rehearsals that each child knows every
+part and can easily adapt himself to the part of any character. There
+is no trouble about a substitute when one or two children fail to
+arrive. Each child has lived the story until it has become a very vital
+part of him. The finished product belongs to the children; they have
+developed it; it is not the production of someone else which they have
+learned by heart.
+
+At the final presentation of the play the children invite parents and
+friends. This is not thought of as a climax toward which they have been
+working; it is hardly more important than any of the rehearsals; it is
+simply an opportunity for others to enjoy the story with them. The
+encouragement of this attitude toward the public presentation of a
+play is important in that it does away with the self-conscious feeling
+of a child that he is acting before people, or that people are
+interested in him rather than in the character that he portrays. Much
+harm can be done by allowing a child to feel that he is "showing off"
+on a stage.
+
+This mode of procedure in developing a dramatization illustrates the
+general method which is employed in order to secure the results herein
+discussed. It should be helpful as a method which may be varied or
+built upon according to the circumstances. Detailed descriptions of
+exact modes of procedure in presenting different kinds of Bible stories
+to the dramatic club will follow. Costumes and stage settings have
+always been of the simplest nature and will be discussed at length in a
+separate chapter.
+
+In order that this method may be of greatest practical value to those
+who are unfamiliar with it, a summary may give the steps in logical
+sequence. This outline is not to be taken as unchangeable, but merely
+as a working basis for the beginner.
+
+     1. Select a story with care; then adapt it for telling.
+
+     2. Tell the story, emphasizing the essential parts.
+
+     3. Let the children divide the story into pictures or scenes.
+
+     4. Have a discussion of what should take place in each
+     scene.
+
+     5. Let volunteers from among the children act out one scene
+     as they think it should be done, using their own words.
+
+     6. Develop criticism by the other children with suggestions
+     for improvement.
+
+     7. Have a second acting of the scene for improvement.
+
+     8. Let each of the other scenes be worked out in the same
+     manner.
+
+     9. See that every child has the chance to try out many parts.
+
+     10. Play the story through many times. Change it often
+     according to the criticism, until the children recognize the
+     result as a product of their best effort.
+
+     11. With the help of the children change the words into
+     biblical form.
+
+     12. Let the group assign definite parts to be learned for the
+     final performance.
+
+
+
+
+CHAPTER III
+
+THE DRAMATIZATION OF _JOSEPH_
+
+
+As will be noted in the following chapter, it is well in beginning
+dramatic work with children to use for the first efforts very simple
+stories. _Joseph_ is too long and complicated for an early experiment.
+We may begin our exposition of method with this story, however, as it
+illustrates especially well the details of the developing process.
+
+At the first meeting the story was told in terms that followed closely
+the Bible version. The children were asked to select the big events, or
+pictures, in Joseph's life. They readily spoke of his life in Canaan as
+a boy; his being put into the pit and sold to the merchants; his life
+in Egypt with Potiphar; the prison experience and the interpretation of
+Pharaoh's dream; the change of fortune in becoming ruler of the land;
+the famine and the visits of his brothers; and, finally, his kindness
+to his father and brothers in giving them a home in Egypt.
+
+The story was told to the children very much as follows:
+
+     Jacob was an old man, too old to care for his large flocks.
+     He sat in the door of his tent day after day, and sent his
+     twelve sons off with the sheep and goats to find grassy
+     fields.
+
+     Now of all the twelve sons Jacob loved Joseph, a lad of
+     seventeen years, the best. Joseph was next to the youngest
+     and often stayed with his father while the older brothers
+     went away. Jacob gave Joseph a coat of many colors and
+     showed him often that he was the favorite. This made the
+     older brothers very jealous of Joseph, and they began to
+     dislike him.
+
+     Once Joseph dreamed a dream, which he told to his brothers,
+     and it made them hate him all the more. He said to them,
+     "Hear, I pray you, this dream which I have dreamed: Behold,
+     we were binding sheaves in the field, and, lo, my sheaf
+     arose, and stood upright; and, behold, your sheaves stood
+     round about and bowed down to my sheaf." Then his brothers
+     said to him, "Shalt thou indeed reign over us? or shalt thou
+     have power over us?"
+
+     Then Joseph dreamed yet another dream, and he told it again
+     to his father and brothers, and said, "Behold, the sun and
+     moon and the eleven stars bowed down to me." And his father
+     said unto him, "What is this dream that thou hast dreamed?
+     Shall I and thy mother and thy brethren indeed come to bow
+     down ourselves to thee?" And the brothers remembered what
+     their father had said, and they wished that harm might come
+     to Joseph.
+
+     It happened soon after this that Jacob sent his ten older
+     sons with the flocks to Shechem, a place some distance away
+     where there was good grass. Now the brothers were gone for
+     so long a time that their father became anxious and decided
+     to send Joseph after them. He said to Joseph, "Do not thy
+     brethren feed the flock in Shechem? Go, I pray thee, see
+     whether it be well with thy brethren and well with the
+     flocks; and bring me word again." So Joseph took money and
+     food in his bag, and his staff in his hand, and went out to
+     find his brothers.
+
+     At Shechem there were no brothers to be seen. Joseph was
+     wondering what he should do next, when he saw a man coming
+     toward him over the field. "What seekest thou?" said the
+     man. And Joseph answered, "I seek my brethren; tell me, I
+     pray thee, where they feed their flocks." "They have
+     departed from here," said the man, "and have gone to
+     Dothan." Then Joseph went after his brothers and found them
+     at Dothan.
+
+     Now when the brothers saw Joseph afar off, they knew that it
+     was he from his coat of many colors, and they plotted
+     against him. One of them said, "Behold, this dreamer cometh.
+     Come, now, let us slay him, and cast him into some pit, and
+     we will say unto our father that some evil beast hath
+     devoured him; and we shall see what will become of his
+     dreams." Reuben, one of the brothers, felt more kindly
+     toward Joseph than did the others and said to them, "Let us
+     not kill him, but let us cast him into this pit that is
+     near." Reuben thought that he would come back later after
+     the brothers had gone and help Joseph out of the pit and
+     take him to his father.
+
+     When Joseph came to his brothers, they quickly took the coat
+     of many colors from him and bound him and cast him into an
+     old well which was dry. Then they sat down to eat bread.
+     They had hardly become settled when one of them cried out,
+     "Behold, I see a caravan! It is a company of Ishmaelites,
+     with their camels bearing spicery and balm and myrrh, going
+     down to Egypt." Then Judah said, "Why do we slay our brother
+     and conceal his blood? Come, let us sell him to these
+     Ishmaelites, and let not our hand be upon him, for he is our
+     brother and our flesh." The brothers were content to do as
+     Judah had said. They drew Joseph up out of the well, and
+     when the Ishmaelites came near they sold him to them for
+     twenty pieces of silver. And the brothers went away to kill
+     a goat so that they might dip Joseph's coat into the blood,
+     that their father might think that he had been killed by
+     some wild animal.
+
+     Reuben did not know that Joseph had been sold, and returned
+     unto the pit after the brothers had left. When he saw that
+     Joseph was not there, he rent his clothes, and ran after the
+     others, crying, "The child is not, and I, whither shall I
+     go?"
+
+     And when the brothers brought Joseph's coat to their father,
+     they said, "This we have found, thou knowest if it be thy
+     son's coat." And Jacob knew it, and said, "It is my son's
+     coat; an evil beast hath devoured him." Then Jacob put on
+     sackcloth and ashes and mourned for Joseph many days.
+
+     Now the Ishmaelites brought Joseph down into Egypt and sold
+     him to Potiphar, a captain of King Pharaoh's guard. And
+     Joseph was faithful and served the Lord, and Potiphar saw
+     that he could be trusted with great responsibility and made
+     him ruler over his household. But Potiphar's wife grew
+     jealous of Joseph and disliked him, and told Potiphar things
+     which were untrue about Joseph. After awhile Potiphar began
+     to believe his wife and he decided that Joseph was not a
+     good man, so he had Joseph cast into prison.
+
+     And it came to pass that the butler and the baker of the
+     king of Egypt were put into prison at the same time that
+     Joseph was there, and they were placed in his ward. One
+     morning Joseph found them both very sad and he said unto
+     them, "Wherefore look ye so sadly today?" And they said, "We
+     have dreamed a dream and there is no one to interpret it."
+     Then Joseph said, "Do not interpretations belong to God?
+     Tell me your dreams, I pray you." And they told him their
+     dreams, and he gave them the meaning thereof. To the chief
+     butler he said, "Yet within three days shall Pharaoh lift up
+     thine head and restore thee to thy place." But to the chief
+     baker he said, "Yet within three days shall Pharaoh lift up
+     thy head from off thee, and shall hang thee on a tree." And
+     it came to pass that on the third day Pharaoh gave a feast
+     to his servants, and he restored the chief butler to his
+     place, but he hanged the chief baker, as Joseph had
+     interpreted.
+
+     At the end of two years Pharaoh dreamed a dream. He was
+     greatly troubled, and sent for all the wise men of the land
+     to tell him the meaning of his dream, but there was none
+     that could interpret it unto Pharaoh. Then the chief butler
+     spoke to the king and said, "I do remember this day, that
+     when Pharaoh was wroth with his servants and put both me and
+     the chief baker into the prison, that we each dreamed dreams
+     in one night; and there was a young man there, a Hebrew, who
+     interpreted to us our dreams, and they came to pass as he
+     interpreted, for the chief baker was hanged and I was
+     restored to my office."
+
+     Then Pharaoh sent for Joseph, and they brought him in
+     hastily out of the dungeon. And Pharaoh said, "I have
+     dreamed a dream, and there is none that can interpret it,
+     and I have heard say of thee that thou canst understand a
+     dream to interpret it." And Joseph answered Pharaoh, "It is
+     not in me; God shall give Pharaoh an answer of peace." Then
+     Pharaoh said, "In my dream, behold, I stood upon the bank of
+     a river; and there came up out of the river seven fat cows,
+     and they fed in a meadow. And, behold, seven other cows came
+     up after them, lean and ill favored; and the lean and
+     ill-favored cows did eat up the fat and well-favored cows.
+     Then I dreamed again, and, behold, seven full ears of corn
+     came upon one stalk, and then seven ears, withered and thin,
+     came up after them, and devoured the good ears."
+
+     And Joseph said to Pharaoh, "God hath shewed Pharaoh what he
+     is about to do. This is the thing which he is about to do:
+     Behold, there will come seven years of plenty throughout the
+     land of Egypt; and there shall rise up after them seven
+     years of famine, and the famine shall consume the land. Now,
+     therefore, let Pharaoh look out a man, discreet and wise,
+     and set him over the land of Egypt, and let him gather up
+     all the food during the years of plenty and lay it up in the
+     cities, so that the land shall not perish in the famine."
+     And the thing was good in the eyes of Pharaoh, and he said,
+     "Can we find such a one as this is, a man in whom the spirit
+     of God is? Forasmuch as God has shewed thee all this, there
+     is none so discreet and wise as thou art; thou shalt be over
+     my house, and according to thy word shall all my people be
+     ruled." Pharaoh took off his ring from his hand and clothed
+     him in fine linen and put a golden chain around his neck.
+
+     Joseph went out from the presence of Pharaoh and went over
+     all the land of Egypt. He gathered up the food for seven
+     years, and laid up the food in the cities. And the seven
+     years of plenteousness that were in all the land of Egypt
+     were ended, and the seven years of famine began, and there
+     was famine in all the lands. Then Joseph opened the
+     storehouses and sold to the Egyptians, and other countries
+     sent to buy grain from Joseph because they had stored none.
+
+     Now in Canaan Jacob and his eleven sons were suffering from
+     the famine. They heard that there was food in Egypt, so
+     Jacob sent down all the brothers, except Benjamin, to buy
+     food. When they came before Joseph and bowed themselves to
+     the earth, they knew him not. But Joseph saw his brothers,
+     and he made himself strange unto them, and treated them
+     roughly, that they should not know him. And when they bowed
+     before him Joseph remembered the dreams that he had dreamed
+     of them. "Ye are spies," he said, "ye are come to see the
+     bareness of the land." They answered him, "We are true men,
+     we are no spies. Thy servants are twelve brothers, the sons
+     of one man in Canaan; and, behold, the youngest is this day
+     with our father, and one is not." "Hereby ye shall be
+     proved," said Joseph, "if ye be true men; let one of your
+     brethren be bound in the prison while ye go and carry grain
+     to your father's house, but bring back your youngest brother
+     to me."
+
+     The brothers took the food back to Canaan, to their father's
+     tent, and told him what the ruler in Egypt had said. Jacob
+     mourned and was loath to let Benjamin, his youngest son, go
+     back to Egypt with them. "My son shall not go down with
+     you," he said; "for his brother is dead and he is left
+     alone: if mischief befall him, then shall ye bring down my
+     gray hairs with sorrow to the grave." But the famine was
+     great in the land, and they had eaten up all the grain which
+     they brought from Egypt. The brothers would not go down
+     again until Jacob had consented to let them take Benjamin
+     with them. And Judah said unto his father, "Send the lad
+     with me and we will rise and go, that we may live and not
+     die. I will be surety for him; if I bring him not back unto
+     thee, then let me bear the blame forever." Then Jacob
+     answered, "If it must be so, do this: take the best of the
+     fruits in the land, and carry down the man a present, a
+     little balm, and a little honey, spices, and myrrh, nuts,
+     and almonds and take double money, and take also your
+     brother, and arise and go unto the man; and God Almighty
+     give you mercy before the man, that he may send you away
+     with your other brother and Benjamin."
+
+     And the men took the present and double the money and
+     Benjamin, and went down into Egypt, and stood before Joseph.
+     When Joseph saw Benjamin, he ordered that the men be brought
+     to his home, and that a feast be made ready, and that the
+     other brother be brought out of the prison. But the men were
+     afraid because they were brought into Joseph's home, and
+     they bowed themselves to the earth before him and presented
+     their gifts. Then Joseph was greatly moved and said unto
+     them, "Is your father well, the old man of whom ye spake? Is
+     he yet alive?" And they answered, "Thy servant, our father,
+     is in good health; he is yet alive." And they bowed down
+     their heads. Then Joseph lifted up his eyes and saw
+     Benjamin, his mother's youngest son, and said, "Is this your
+     younger brother of whom ye spake unto me?" And he said to
+     Benjamin, "God be gracious unto thee, my son." Joseph was so
+     overcome by his love for Benjamin that he hastened out of
+     the room where he could weep alone. And he washed his face
+     and composed himself and commanded that the food be served.
+     They all ate and were merry, and Joseph helped Benjamin to
+     five times as much as he did the others.
+
+     Then Joseph commanded the steward to fill the men's sacks
+     with food, and to put each man's money back into his sack,
+     and to put his silver cup into the sack of the youngest. As
+     soon as the morning was light the men were sent away. And
+     when they were gone out of the city and were not yet far
+     off, Joseph sent a servant after them to search their sacks
+     for his silver drinking-cup, and he sent word that the one
+     who had it should be brought back to him.
+
+     Now the brothers were greatly distressed and protested that
+     they knew nothing of the cup. What was their astonishment at
+     finding their money in their sacks and the cup in Benjamin's
+     sack! Then they rent their clothes and returned to the city.
+     And Judah came to Joseph and fell on the ground and said,
+     "What shall we say unto my lord? or how shall we clear
+     ourselves? God hath found out our sin, behold we are my
+     lord's servants." Then Joseph said, "Get up and go in peace
+     unto thy father; I shall keep for my servant only the man in
+     whose sack the cup was found." And Judah came near to Joseph
+     and besought him that he allow Benjamin to return to their
+     father; he told him that he had promised his father to bring
+     the lad back safely, and that it would kill the old man if
+     they returned without Benjamin. "Now therefore, I pray
+     thee, let thy servant abide as a bondman, instead of the
+     lad." Then Joseph could not refrain himself, and he wept
+     before his brothers and made himself known to them. "I am
+     Joseph, do ye not know me? Is my father yet alive?" And the
+     brothers were troubled, and they did not know how to answer
+     him. "Come near, I pray you." And they came near, and he
+     said again, "I am Joseph, your brother, whom ye sold into
+     Egypt. Now be not grieved nor angry with yourselves that ye
+     sold me hither, for God did send me before you to preserve
+     your lives. Haste ye, go up to my father, and tell him that
+     Joseph, his son, still liveth, and bring him down unto me."
+     And Joseph fell upon Benjamin's neck and kissed him, and he
+     kissed all his brothers, and they were astonished, for they
+     knew now that this was Joseph whom they had sold.
+
+     Now the word was spread over Pharaoh's house that Joseph's
+     brethren had come, and it pleased Pharaoh greatly. He came
+     in where they were and said unto Joseph, "This do ye: Say to
+     your brethren that they are commanded to go back into
+     Canaan, and to pack all their household goods, and to bring
+     their father and their families, and all their flocks, and
+     to return into the land of Egypt, for all the good of the
+     land shall be theirs."
+
+     Then the brothers were joyful, and gave thanks unto Pharaoh
+     and to their brother, Joseph, and they left the city to go
+     back to their father. And when they came unto Jacob and told
+     him all, and showed him the wagons which Joseph had sent to
+     bring him down into Egypt, his soul rejoiced, and he said,
+     "It is enough; Joseph, my son, is still alive: I will go and
+     see him before I die."
+
+The children decided that it would take a great many scenes in order to
+act out the story adequately. At first they mentioned seven or eight.
+One child was asked to describe the first scene as he thought it ought
+to be, and several others added to the description. Volunteers were
+then called upon to act it out then and there.
+
+The first scene was placed in front of Jacob's tent. Jacob is anxiously
+awaiting the return of his ten sons with the flocks. He becomes worried
+because they do not come, so he sends Joseph to seek his brothers.
+Joseph accepts the command and leaves the tent.
+
+This scene was acted very naturally and spontaneously by several groups
+of children. Each time it was changed, for no two groups of children
+interpreted the action or words alike.
+
+The children who were not acting were made to feel their responsibility
+also, for they were asked to make note of the best parts. A general
+discussion was held at the end of each presentation, in which the good
+points were emphasized and suggestions were given as to improvement.
+The criticism in all of this work comes for the most part from the
+children; the leader in charge directs it, but keeps from imposing her
+opinions.
+
+As the meetings of this dramatic club last but one hour, nothing more
+could be done than work out one scene at this first time. The children
+were asked to think the story over and to come the next Sunday prepared
+to suggest the second and third scenes in detail.
+
+At the next meeting the second and third scenes were worked out in the
+same manner as the first.
+
+The second scene places Joseph at Shechem. Here he meets the man who
+tells him that his brothers have gone to Dothan.
+
+In the third scene the brothers are seated on the ground eating and
+resting, with their shepherd staffs beside them; they begin to talk
+about Joseph and to tell of his dream and their hatred of him. Just at
+this point Joseph runs in and gives his father's message. He also tells
+of his experience in Shechem in not finding them there. Then the
+brothers take him and bind him and throw him into the pit. The caravan
+comes along and Joseph is sold and taken away. After the brothers
+depart, Reuben, not knowing that Joseph has been sold, comes back to
+the pit, hoping to help him out. When he finds the boy gone, he weeps
+and goes sorrowfully away. (A doorway which leads off from the stage at
+the back was used for the pit. There were no camels in the caravan; the
+men walked by.)
+
+During the next hour scenes which describe Joseph's life in Egypt were
+roughly blocked out. The children made up their words as they acted the
+parts. The language at this stage was very modern, but for the time
+being the emphasis was placed upon the thought expressed and upon the
+action.
+
+Several of the older girls volunteered to write out the first few
+scenes in order to bring the language into better form. At the fourth
+meeting these were brought in and discussed by the children. The
+following is a version of the first scene just as it was written by a
+girl of twelve years. It is given here that the contrast may be seen
+between this as a piece of work which may be made better and the final
+play at the end of the chapter.
+
+
+     SCENE I
+
+     _Jacob:_ It is time my sons are returning with their flocks.
+     See if thou canst see them coming.
+
+          [_Exit servant._]
+
+     _First Lady:_ Yes, they have been gone a long time. We have
+     only Joseph and Benjamin with us.
+
+          [_Enter servant._]
+
+     _Jacob:_ What didst thou see?
+
+     _Servant:_ Master, I saw nothing of your sons.
+
+     _Jacob:_ I shall send Joseph after them. Bring Joseph
+     hither. [_Turns to another servant._] Bring a bag of food
+     for him to take with him on his journey.
+
+          [_Servants leave._ JACOB _looks away, hoping to see his
+          sons._]
+
+     _Jacob:_ I do not see them. What can be the matter?
+
+          [_Enter_ JOSEPH _with servant._]
+
+     _Second Lady:_ Joseph will be sure to find them.
+
+     _Jacob:_ Joseph, my son, I am sending thee after thy
+     brethren. Take this food to Shechem and bring thy brethren
+     back to me.
+
+     _Joseph:_ I will do as thou bidst.
+
+          [JACOB _stands and puts his hand on Joseph._]
+
+     _Jacob:_ May the Lord go with thee.
+
+     END
+
+The third scene was written by a girl of eleven years and was as
+follows:
+
+
+SCENE III
+
+          [_All brothers look down the road._]
+
+     _All Brothers:_ What shall we do with him?
+
+     _Seventh Brother:_ I know; let's kill him!
+
+     _All except Reuben:_ Yea! Yea!
+
+     _Reuben:_ Nay, do not kill him; let's put him in a deep pit.
+
+     _Tenth Brother:_ Well, all right.
+
+          [JOSEPH _appears; exit_ REUBEN.]
+
+     _Joseph:_ Ah, I have found ye at last, my brethren.
+
+          [_All grab_ JOSEPH.]
+
+     _Joseph:_ What have I done to deserve this?
+
+     _Fourth Brother:_ Get some rope!
+
+          [_Exit sixth brother and brings some rope back with him.
+          Eighth and ninth brothers bind_ JOSEPH _with ropes. All
+          take hold of him and push him into the pit._]
+
+     _Tenth Brother:_ But what shall we tell our father?
+
+     _Eighth Brother:_ Let's tell him that Joseph was killed by a
+     wild beast.
+
+     _Ninth Brother:_ We will take his coat of many colors, which
+     our father gave him, and dip it in the blood of a goat.
+
+     _All:_ Yea! Yea!
+
+          [_Seventh brother sees some merchants._]
+
+     _Seventh Brother:_ I see merchants in the distance. Let's
+     sell Joseph to them.
+
+          [_One brother goes after the merchants, while the
+          others bring_ JOSEPH _from the pit. Merchants enter._]
+
+     _Tenth Brother:_ What will ye give us for this lad?
+
+     _Merchant:_ I guess we can give ye about twenty pieces of
+     silver.
+
+          [_Merchants take_ JOSEPH _with them. Brothers go on
+          their way. Enter_ REUBEN _after his brothers have gone.
+          He runs to the pit._]
+
+     _Reuben:_ Joseph! Joseph! Where art thou? The lad is gone.
+     Whither shall I go?
+
+          [REUBEN _goes away, sobbing and wringing his hands._]
+
+     END
+
+       *       *       *       *       *
+
+At the meeting when these were read the children began to criticize the
+length of the play. One little boy made the remark, "We keep telling
+the same things over; why can't we leave out that second scene? It is
+so short, and Joseph could tell his brothers in the third scene that he
+didn't find them at Shechem." This suggestion was readily accepted, and
+as a consequence the second scene was omitted. Then the entire group
+consciously worked on the play to see what parts were unnecessary.
+Several children had recently been to the theater and had seen some
+good plays. They told the others that there were few scenes and that
+there was much left to the imagination of the audience. The result was
+that this long-drawn-out play was cut down to three essential scenes.
+The first scene was placed at Dothan, and was much the same as the
+original scene iii. The second scene was placed at Pharaoh's palace
+where Joseph was brought to interpret the king's dream. The third
+represented the brothers coming to Joseph with Benjamin, the youngest,
+ending with Joseph's forgiveness of them and his sending for Jacob,
+their father.
+
+After these three scenes were decided upon, the older children were
+asked to begin writing them out in final form.
+
+At the fifth meeting of the club all the children sat in a circle with
+Bibles and pencils and paper and, together with the leader, they
+formulated the speeches, making them conform as nearly as possible to
+those in the Bible. The work that had been done outside was discussed
+and built upon. This part of the procedure did not take as long a time
+as it may seem, because the children knew so well what thoughts they
+wanted to express--they had lived the story so many times. They
+practiced after this, using the words they had decided upon.
+
+For the next meeting or two the children acted out the play, trying
+each time to improve it by better interpretations of the parts. The
+fact that they had learned definite words did not in the least check
+the freedom of the action or cause the play to lose the spontaneity
+which first characterized it, for the reason that the story had quite
+become a part of the children before they decided upon the set
+speeches.
+
+The question arose as to which children should take certain parts. In
+some instances several wanted to learn the part of one particular
+character. They were each given the opportunity of learning it, and
+then at the next meeting each acted it as best he or she could before
+the group. The other children were judges and decided upon the one who
+seemed to represent the character best. Whenever this method of
+choosing characters has been employed there has never been any hard
+feeling on the part of a child because he was not chosen. The justice
+of the choice is quickly recognized when it comes in this way rather
+than from the leader.
+
+There were many little children in this club who were scarcely old
+enough to learn a part or to say very much. They were easily worked
+into the caravan, or they took such parts as servants in Pharaoh's
+court. Each child was made to feel that one part was just as important
+as another and that those who had nothing to say were very essential
+elements because of their acting.
+
+Eight or nine meetings were needed before the play was entirely
+finished. The children had very simple slips for costumes which they
+had been wearing at each rehearsal. Bright-colored sashes and
+headdresses they brought from home. Pharaoh was more gaily dressed than
+the others. The child who took the part made for himself many ornaments
+from gilt paper.
+
+Very little attention was given to stage setting, what was used was
+extremely simple. A few of the older girls made designs from the
+Egyptian lotus to stand around the walls of Pharaoh's palace or to be
+carried by the servants. Colored illustrations of Bible stories by
+Tissot were suggestive helps in these details. The ten brothers made
+themselves shepherd staffs from limbs of trees. This small amount of
+stage setting and costuming was used at many rehearsals and was all
+that was necessary to produce the right atmosphere.
+
+As soon as the children felt that the play represented their best
+effort they invited their parents and friends and presented it before
+them one Sunday afternoon at the time for the regular meeting.
+
+It happened that a few days before the final presentation four of the
+principal characters were taken ill with measles and chicken-pox. Four
+others, who had not given special attention to these parts, but who had
+minor parts, assumed the important rôles and went straight through the
+play with no trouble whatever. The audience never knew the difference
+and the children thought that it was entirely natural that they should
+be able to do this. The play all the way through was characterized by a
+spirit of dignity and seriousness.
+
+As direct results of this work in dramatization it was noted that all
+the children had acquired a certain freedom of expression, a
+self-confidence, without conceit or too much sureness, and the ability
+to work harmoniously with the group. One or two timid children learned
+to forget themselves, and one overconfident child was helped by seeing
+that others could learn to do the part even a little better than
+herself.
+
+The children who took part in this little play of _Joseph_ will never
+forget it. Several years after the play was given they were frequently
+referring to it with great happiness. Joseph is one of their favorite
+characters because they have lived through his experiences with him.
+
+The following is the play as it was given in its final form. It is not
+to be taken as a play which may be given to children to be learned as
+it is; it is given here that there may be some idea of the standard
+which may be reached.
+
+
+
+
+     JOSEPH
+
+
+     SCENE I
+
+          PLACE: Dothan.
+
+          CHARACTERS: Reuben, Simeon, Levi, Judah, Issachar,
+          Zebulun, Dan, Naphtali, Gad, Asher, Joseph, Several
+          Ishmaelitish Merchants.
+
+          [_The ten brothers are sitting and lounging on the
+          ground, eating bread._]
+
+     _Reuben:_ Shall we stay longer in this place? Our flocks
+     have fed well in Shechem and Dothan. Let us return again
+     unto Canaan and to the tent of our father, Jacob.
+
+     _Judah:_ Oh, why should we go back? Our father loveth us
+     not! It is Joseph, our younger brother, that he favoreth!
+
+     _Levi:_ Yes, this Joseph! This dreamer of dreams! He
+     thinketh he is greater than we. He thinketh he shall rule
+     over us!
+
+     _Judah:_ Ye heard him when he said, "Hear this dream which I
+     have dreamed: Behold, we were binding sheaves in the field,
+     and, lo, my sheaf arose, and stood upright; and, behold,
+     your sheaves stood round about, and bowed down to my sheaf."
+
+     _Simeon:_ Ha! Shall he indeed reign over us? Or shall he
+     have dominion over us?
+
+     _Levi:_ Yea, and he dreamed yet another dream, for he said,
+     "Behold, the sun and the moon and the eleven stars bowed
+     down unto me."
+
+     _Dan:_ What is this dream which he has dreamed? Shall his
+     mother and father and eleven brethren indeed come to bow
+     down themselves to him?
+
+     _Simeon:_ Joseph and his dreams are hateful unto me! I was
+     glad when our father said to us, "Take the flocks to feed in
+     Shechem," for now we are free of him.
+
+     _Levi:_ It seemeth to me that I see this Joseph, this
+     dreamer whom we hate. He is yet afar off, but he surely
+     approacheth us!
+
+     _Reuben:_ Can it be he?
+
+     _Dan:_ Yes, for I see the coat of many colors, the coat our
+     father made for his favorite son.
+
+     _Levi:_ Why should he come to us? Cannot our father trust
+     the flocks to our hands without sending this Joseph to spy
+     on us?
+
+     _Dan:_ It is he! It is Joseph!
+
+     _Simeon:_ What shall we do?
+
+     _Judah:_ Our time is come. We despise him; let us slay him.
+
+     _Reuben:_ Nay, thou dost not mean to slay him!
+
+     _Several:_ Nay! Nay!
+
+     _Judah:_ We must surely slay him. We must rid ourselves of
+     this dreamer. Think how he said he should reign over us! Let
+     us be rid of him!
+
+     _Simeon:_ Yes, thou art right--we must slay him.
+
+     _Several:_ Yea, yea, slay him! Destroy him! He shall dream
+     no more such dreams!
+
+     _Simeon:_ Behold, this dreamer cometh near! Come, now, and
+     let us slay him, and cast him into some pit, and we will
+     say, "Some evil beast hath devoured him," and we shall see
+     what will become of his dreams.
+
+     _Reuben:_ Let us not kill him. Shed no blood, but cast him
+     into this pit that is in the wilderness, and lay no hand
+     upon him.
+
+          [REUBEN _goes away._]
+
+          [JOSEPH _runs up._ GAD _lays one hand roughly on his
+          shoulder._]
+
+     _Gad:_ How comes it that thou art here? What is thy
+     business?
+
+     _Joseph:_ My father commanded me and said, "Go, I pray thee,
+     and see whether it be well with thy brethren and well with
+     the flocks; and bring me word again." So he sent me out of
+     the vale of Hebron, and I came to Shechem. And you were not
+     there, and I came on after you and found you here. What
+     troubleth you? Hath aught happened to the flocks?
+
+     _Simeon:_ Hear his tale! This dreamer of dreams! So he would
+     reign over us, would he! Strip him of his coat of many
+     colors! This favored son!
+
+          [_Brothers bind_ JOSEPH _and cast him into the pit._]
+
+     _Joseph:_ What have I done to deserve this?
+
+          [_Brothers sit down again to eat their bread._]
+
+     _Gad:_ Behold, I see a caravan!
+
+     _Simeon:_ From what country?
+
+     _Gad:_ It is a company of Ishmaelites, from Gilead, with
+     their camels, bearing spicery and balm and myrrh, going down
+     into Egypt.
+
+     _Judah:_ What doth it profit if we slay our brother and
+     conceal his blood? Come, let us sell him to these
+     Ishmaelites and let not our hand be upon him, for he is our
+     brother and our flesh.
+
+     _Several:_ So be it.
+
+     _Gad:_ Hail the caravan, and bargain with these men.
+
+     _Simeon_ [_salutes the head man of the caravan; the brothers
+     listen attentively;_ GAD _brings_ JOSEPH _out of the pit_]:
+     What wilt thou give us in exchange for this lad? We would
+     sell him.
+
+     _Merchant_ [_looks_ JOSEPH _over, then consults with his
+     men_]: Twenty pieces of silver will we give for him.
+
+     _Simeon_ [_to the brothers_]: These merchants will give us
+     twenty pieces of silver for this dreamer.
+
+     _All:_ Sell him! Sell him!
+
+          [JOSEPH _is taken over by the merchants and they all
+          move on. The brothers are dividing out the money._]
+
+     _Gad:_ The lad is gone with the merchants, but what excuse
+     shall we make unto our father?
+
+     _Simeon:_ Say unto him that a wild beast hath devoured him.
+     Here is his coat of many colors--we will kill a goat and dip
+     the coat in the blood! Then our father, Jacob, will grieve
+     for his son!
+
+     _All:_ As thou sayest, so let us do!
+
+          [_Brothers move off stage, discussing the money._ REUBEN
+          _comes back. He runs and looks in the pit. He tears his
+          clothes when he finds that_ JOSEPH _is not there._]
+
+     _Reuben:_ The child is not, and I, whither shall I go?
+
+
+     SCENE II
+
+          PLACE: Egypt. In Pharaoh's palace.
+
+          CHARACTERS: Pharaoh, Joseph, Wise Men, Chief Butler,
+          Servants.
+
+          [_Pharaoh is sitting on his throne; many wise men come
+          in and bow down before him._]
+
+     _Pharaoh:_ Arise, O wise men of Egypt! I have sent for you
+     this day because of a dream which troubleth me.
+
+          [_Men stand up._]
+
+     _Wise Men:_ What is thy dream, O King?
+
+     _King:_ I dreamed, and, behold, I stood by a river, and
+     there came up out of the river seven fat cows, and they fed
+     in a meadow. And, behold, seven other cows came up after
+     them out of the river, ill-favored and lean. And the
+     ill-favored and lean cows did eat up the seven well-favored
+     and fat cows. Then did I awake, but the second time I slept
+     and dreamed. And, behold, seven good ears of corn came up
+     upon one stalk, and, behold, seven thin ears sprung up after
+     them, and the seven thin ears devoured the seven full ears.
+     And I awoke again, and, behold, it was a dream. Now, is
+     there one among you who can tell me the meaning of these
+     dreams, for my spirit is troubled because of them?
+
+          [_The wise men in turn come out and bow before the king
+          and say_]:
+
+     _First Wise Man:_ O my lord King, thy dream troubleth me,
+     but I am not able to interpret it.
+
+     _Second Wise Man:_ O King, also, I cannot tell thee the
+     meaning of thy dream.
+
+     _Third Wise Man:_ Most gracious King, I, also, am unable to
+     interpret thy dream.
+
+     _Fourth Wise Man:_ O great Pharaoh, I regret that I am
+     unable to help thee.
+
+     _Pharaoh_ [_angrily_]: Are ye called the wise men of Egypt,
+     and yet are ye not able to interpret a dream?
+
+          [_The chief butler comes forward and falls before the
+          king._]
+
+     _Butler:_ O great King, I am only thy chief butler, but I
+     beg of thee allow me to speak.
+
+     _King:_ Speak, butler, what wouldst thou say?
+
+     _Butler:_ O King, I do remember my faults this day. When
+     Pharaoh was wroth with his servants and put me in prison,
+     both me and the chief baker, behold, we dreamed a dream in
+     one night, and there was a young man, a Hebrew, and we told
+     him, and he interpreted to us our dream. And it came to pass
+     as he interpreted unto us, for I was restored unto mine
+     office and the baker was hanged.
+
+     _Pharaoh:_ Send for this young Hebrew; bring him into my
+     presence. [_Servant goes out for_ JOSEPH.] Butler, who is
+     this boy that interpreted thy dream?
+
+     _Butler:_ His name is Joseph, O King. He was brought down
+     from Canaan by a caravan and was sold to Potiphar, the
+     captain of Pharaoh's guard. But he displeased Potiphar, so
+     he was thrown into prison at the time thy servants were
+     there.
+
+          [_Enter_ JOSEPH. _He falls on his face before_ PHARAOH.]
+
+     _Pharaoh:_ I have dreamed a dream, and there is none that
+     can interpret it, and I have heard say of thee that thou
+     canst understand a dream to interpret it.
+
+          [JOSEPH _rises._]
+
+     _Joseph:_ It is not in me; God shall give Pharaoh an answer
+     of peace.
+
+     _Pharaoh:_ [_Repeats his dream to_ JOSEPH.]
+
+          [JOSEPH _comes nearer to_ PHARAOH.]
+
+     _Joseph:_ What God is about to do he sheweth unto Pharaoh:
+     Behold, there will come seven years of great plenty
+     throughout all the land of Egypt. And there shall arise
+     after them seven years of famine. And all the plenty shall
+     be forgotten throughout Egypt, and the famine shall consume
+     the land, and it shall be very grievous. Now therefore let
+     Pharaoh look out a man discreet and wise and set him over
+     the land of Egypt, and let him appoint officers over the
+     land. And let them gather all the food of those good years
+     that come, and lay up corn under the hand of Pharaoh. And
+     let them keep food in the cities. And that food shall be
+     stored against the seven years of famine, that the land may
+     not perish through famine.
+
+     _Pharaoh:_ This plan seemeth good unto me. Can we find such
+     a one as this is, a man in whom the spirit of God is?
+
+     _The Wise Men:_ Nay, O King, he is most wise.
+
+     _Pharaoh:_ Forasmuch as God hath shewed thee all this, thou
+     shalt be over my house, and according to thy word shall all
+     my people be ruled, only in the throne will I be greater
+     than thou. See, I have set thee over all the land of Egypt.
+     [_To his servants:_] Bring a golden chain, and fine raiment
+     for this man.
+
+          [_He puts a ring on_ JOSEPH'S _hand. When the clothes
+          are brought they are put around him, the chain on his
+          neck, etc._]
+
+     _Pharaoh:_ Thou shalt ride in the second chariot and all my
+     people shall bow the knee unto thee. [_All people in the
+     room bow._] I am Pharaoh, and without thee shall no man lift
+     up his hand or foot in all the land of Egypt.
+
+     _Joseph:_ May the Lord God give me power to do his will.
+
+
+     SCENE III
+
+          PLACE: Pharaoh's palace.
+
+          CHARACTERS: Joseph, His Eleven Brothers, Servants,
+          Pharaoh.
+
+          [JOSEPH _is seated on his high seat. A servant comes
+          in._]
+
+     _Servant:_ Master, the men that came down from Canaan to buy
+     food of thee have returned and would have a word with thee.
+
+     _Joseph:_ Bring them in. [_To another servant_]: Go see that
+     a feast is prepared for these men.
+
+          [_The brothers enter bringing_ BENJAMIN. _They all fall
+          on their faces._]
+
+     _Joseph:_ Arise! And have you returned bringing with you
+     your youngest brother?
+
+     _Reuben:_ O sir, we have brought our youngest brother; he is
+     here.
+
+          [BENJAMIN _is led forward._ JOSEPH _goes near and puts
+          his hand on_ BENJAMIN.]
+
+     _Joseph:_ And is this your younger brother of whom ye spake
+     unto me? God be gracious unto thee, my son! [_To the
+     brothers:_] Is your father well, the old man of whom ye
+     spake? Is he yet alive?
+
+     _Levi:_ Thy servant, our father [_all bow heads_], is in
+     good health; he is yet alive.
+
+          [JOSEPH _turns away and begins to weep; he leaves them
+          abruptly and walks to the other side of the room._]
+
+     _Joseph_ [_to the servants_]: Cause every man to go out from
+     me! [_All begin to leave the room, brothers included._] [_To
+     the brothers. He walks quickly after them and holds his arms
+     out toward them._] Stay! I am Joseph; doth my father yet
+     live? Come near to me, I pray you. [_They come somewhat
+     nearer and fall to the ground._] I am Joseph, your brother,
+     whom ye sold into Egypt. Now, therefore, be not grieved nor
+     angry with yourselves, that ye sold me thither, for God did
+     send me before you to preserve life. For these two years
+     hath the famine been in the land; and yet there are five
+     years more. God hath sent me before you to save your lives.
+     Haste ye, and go up to my father, and say unto him, "Thus
+     saith thy son Joseph, God hath made me lord of all Egypt.
+     Come down unto me, and tarry not. And thou shalt be near
+     unto me, thou and thy children, and thy flocks, and thy
+     herds and all thou hast. Oh, do you not see that I am Joseph
+     that speak unto you?" [_He weeps again and turns away._]
+
+     [Illustration: FIG. 1--Pharaoh's court]
+
+     _Brothers:_ Joseph, our brother Joseph! Can he forgive us?
+
+          [PHARAOH _enters here_]
+
+     _Joseph:_ O King, these are my brethren, and from my
+     father's tent.
+
+     _Pharaoh:_ Say unto thy brethren: "This do ye: Go back unto
+     the land of Canaan and take your father and your household
+     goods, and come unto me. And I will give you the good of the
+     land of Egypt, and ye shall eat of the fat of the land. Now
+     ye are commanded: This do ye: Take ye wagons out of Egypt
+     for your little ones, and for your wives, and bring your
+     father, and come, for the good of the land shall be yours."
+
+     _One Brother:_ We thank thee, O great Pharaoh, and our
+     brother Joseph. This is greater than we deserve. We will
+     bring our father down straightway.
+
+     _Joseph:_ Praise be to God who has done this good thing!
+
+     END
+
+
+
+
+CHAPTER IV
+
+THE DRAMATIZATION OF _DAVID AND GOLIATH_
+
+
+When beginning dramatic work with a group of children who have never
+had the training before, it is always well to select as the first story
+to be dramatized one that is short, simple in structure, and full of
+action. If children undertake a long story which involves complicated
+situations, they easily become discouraged and lose the joy and
+spontaneity which are essential elements in successful dramatizations.
+Fables, such as "The Boy and the Wolf" or "The Fox and the Grapes," are
+excellent to begin with, because they contain the necessary qualities
+which make up a good short story. Situations as simple as those which
+are presented in these fables are entered into with great freedom, and
+they seem to pave the way for more ambitious dramatizations.
+
+The story of _David and Goliath_ is short, simple, and yet contains
+vivid action. It was chosen as one of the first stories to be given to
+the dramatic club because of these qualities. After the children had
+gone through the experience of dramatizing it they had gained a
+self-confidence and a realization of their own power in interpreting a
+story through dramatization.
+
+The methods employed in presenting _David and Goliath_ were much the
+same as those described in connection with _Joseph._ The point that
+must be kept in mind in all of this work is that the dramatization of a
+story begins with the action and that the words are developed. The play
+is never written first and acted afterward.
+
+While telling the story the leader placed much emphasis upon the
+activities and ideals of the shepherd life of the Hebrews in the time
+of David. The children made their own armor--helmets, swords,
+shields--from cardboard and colored papers. Pictures and descriptions
+which they secured helped them to get correct ideas as to shapes and
+decorations.
+
+The costumes were simple little slips that could be belted in at the
+waist, and came only to the knees. The children helped to plan and make
+them. David made his shepherd staff from a limb of a tree, and the
+soldiers made their spears by fastening gilded points to long sticks.
+
+A question arose as to how the sling was made. The children found, upon
+looking up this point, that the sling was woven from different colored
+wools. From a good picture they constructed looms from cardboard and
+actually wove several slings like David's. Fig. 14 shows a diagram of
+the loom as the children worked it out.
+
+A very great value was derived from this construction work, in that it
+came entirely from the children; it was an outgrowth of their genuine
+interest in the subject. They were reliving the same experiences and
+solving the same problems that had confronted David.
+
+The gentle spirit of David had a direct influence upon the whole group.
+It made no difference what part a child interpreted--whether that of
+Goliath or of one of the brothers--it was evident that David's high
+ideals and sweetness of character called forth admiration.
+
+Fig. 2 gives one of the scenes from _David and Goliath._ The play
+follows as it was given.
+
+
+     DAVID AND GOLIATH
+
+          CHARACTERS: David, David's Three Brothers, King Saul,
+          Goliath, Israelite Soldiers, Philistine Soldiers.
+
+
+     SCENE I. THE CHALLENGE
+
+          PLACE: On the battlefield.
+
+     _First Brother:_ Have ye seen this Philistine who is come
+     up, this giant who has defied the armies of the living God?
+
+     _Second Brother:_ Who has seen him?
+
+     _Third Brother:_ I have seen him; he is verily a giant. His
+     height is six cubits and a span. He weareth an helmet of
+     brass upon his head, and he is armed with a coat of mail,
+     and he hath greaves of brass upon his legs, and the staff of
+     his spear is like the weaver's beam; and one bearing a
+     shield goeth before him. Our soldiers are truly afraid. They
+     flee as he approacheth.
+
+     [Illustration: FIG. 2.--A scene from _David and Goliath_]
+
+     _Goliath_ [_apart from the king and soldiers_]: Why are ye
+     come out to gather your armies to battle? Am I not a
+     Philistine, and ye servants to Saul? Choose you a man for
+     you, and let him come down to me. If he be able to fight
+     with me, and to kill me, then will we be your servants; but
+     if I prevail against him and kill him, then shall ye be our
+     servants and serve us. I defy the armies of Israel this day;
+     give me a man, that we may fight together.
+
+          [_Some of the soldiers turn and flee._]
+
+     _Saul:_ Hear the words of this Philistine. I know not what
+     we can do. Have we no man among us with the strength or
+     boldness to fight this giant? I will enrich him with great
+     riches.
+
+     _Second Brother:_ In truth, he is a mighty giant, O King.
+     Our soldiers are greatly dismayed; no one will accept this
+     challenge.
+
+          [_The king and two soldiers go out. Enter_ DAVID. _He
+          runs up to his brothers and salutes them._]
+
+     _First Brother:_ This is David, our younger brother! How
+     cometh it that thou art here?
+
+     _Second Brother:_ I thought we left thee tending the sheep.
+
+     _Third Brother:_ What news dost thou bring of our father? Is
+     all well with him?
+
+     _David:_ My father commanded me, saying, "Take now for thy
+     brethren this parched corn and these ten loaves, and run to
+     the camp of thy brethren; and carry these ten cheeses unto
+     the captain of their thousand, and look how thy brethren
+     fare." And I rose up early in the morning, and left the
+     sheep with a keeper, and came as my father commanded.
+
+          [_Brothers take food from_ DAVID.]
+
+     _Goliath:_ Why are ye come out to gather your armies to
+     battle? Am I not a Philistine, and ye servants to Saul?
+     Choose you a man for you and let him come down to me. If he
+     be able to fight with me and to kill me, then will we be
+     your servants; but if I prevail against him and kill him,
+     then shall ye be our servants and serve us. I defy the
+     armies of Israel this day; give me a man, that we may fight
+     together.
+
+          [DAVID _listens. The soldiers seem disturbed and
+          frightened._]
+
+     _David:_ What meaneth this?
+
+     _Soldier_ [_walks up to_ DAVID]: Have ye seen this man who
+     is come up? Surely to defy Israel is he come up. And it
+     shall be that the man who killeth him the king will enrich
+     with great riches, and will give him his daughter, and make
+     his father's house free in Israel.
+
+     _David:_ Who is this Philistine that he should defy the
+     armies of the living God?
+
+     _First Brother_ [_showing anger against_ DAVID]: Why camest
+     thou hither? And with whom hast thou left those few sheep in
+     the wilderness? I know thy pride, and the naughtiness of thy
+     heart; for thou art come down that thou mightest see the
+     battle.
+
+     _David:_ What have I now done? [_He turns from his brothers
+     and speaks to the people._] What shall be done with the man
+     that killeth this Philistine and taketh away the reproach
+     from Israel? For who is this Philistine that he should defy
+     the armies of the living God? I will fight him, and if I
+     prevail against him and kill him, then will the Philistines
+     be our servants and serve us. The Lord God of Israel will
+     deliver him into my hands.
+
+     _Soldiers:_ Saul, the king, shall hear these words!
+
+
+     SCENE II. DAVID BEFORE SAUL
+
+          PLACE: Saul's tent.
+
+     _David_ [_comes in and salutes the king_]: Let no man's
+     heart fail because of this giant; thy servant will go and
+     fight with this Philistine.
+
+     _Saul:_ Thou art not able to go against this Philistine to
+     fight with him; for thou art but a youth, and he a man of
+     war from his youth.
+
+     _David:_ Thy servant kept his father's sheep, and when there
+     came a lion or a bear, and took a lamb out of the flock, I
+     went out after him and smote him, and delivered it out of
+     his mouth; and when he rose up against me, I caught him by
+     the beard and smote him and slew him. Thy servant slew both
+     the lion and the bear; and this Philistine shall be as one
+     of them, seeing he hath defied the armies of the living God.
+     The Lord that hath delivered me out of the paw of the lion,
+     and out of the paw of the bear, he will deliver me out of
+     the hand of this Philistine.
+
+     _Saul:_ Go, and the Lord go with thee. [_To soldiers_]:
+     Bring forth armor; this youth must be ready to meet the foe.
+
+          [_The soldiers bring armor._ SAUL _puts the armor, a
+          helmet and a coat of mail, on_ DAVID. DAVID _puts on his
+          sword, then walks a few steps. He suddenly throws the
+          sword down and begins to take off the armor._]
+
+     _David:_ I cannot go with these, for I have not proved them.
+     [_He takes the armor off and keeps only his shepherd's staff
+     and sling._] The Lord that delivered me out of the paw of
+     the lion, and out of the paw of the bear, he will deliver me
+     out of the hand of this Philistine.
+
+          [_He bows to the king and goes out._]
+
+
+     SCENE III. THE BATTLE
+
+          PLACE: The battlefield.
+
+          [DAVID _picks up five smooth stones and puts them into
+          his shepherd bag._ GOLIATH _comes toward him. He is
+          dressed in armor, and the man that bears his shield
+          comes before him._ GOLIATH _looks surprised and
+          disgusted when he sees_ DAVID.]
+
+     _Goliath:_ Am I a dog that thou comest to me with staves?
+     Come to me and I will give thy flesh unto the fowls of the
+     air and unto the beasts of the field.
+
+     _David:_ Thou comest to me with a sword, and with a spear
+     and with a shield; but I come to thee in the name of the
+     Lord of hosts, the God of Israel, whom thou hast defied.
+     This day will the Lord deliver thee into mine hand; and I
+     will smite thee, and take thy head from thee; and I will
+     give the bodies of the Philistines unto the fowls of the
+     air, and unto the beasts of the field, that all may know
+     that there is a God in Israel. And all this assembly shall
+     know that the Lord saveth not with the sword and with the
+     spear, for the battle is the Lord's and he will give you
+     into our hands!
+
+          [DAVID _puts his hand into his bag and takes out a
+          stone and slings it, so that it hits the giant in the
+          forehead. The giant falls. The Philistines flee._ DAVID
+          _stands with his foot on the body of the giant._]
+
+     _Israelite Soldiers with David:_ The battle is the Lord's!
+
+     END
+
+
+
+
+CHAPTER V
+
+THE DRAMATIZATION OF _MOSES IN THE BULRUSHES_
+
+
+The method of presenting the story of _Moses in the Bulrushes_ differed
+somewhat from that employed with _Joseph._ There was little need to
+tell the story at the beginning, for every child already knew it in
+detail. Consequently the leader had the children tell most of it, while
+she supplemented and directed attention to important parts.
+
+In this case the entire play was planned roughly before any of it was
+acted. The story was criticized by the children as to its organization
+and unity, and as a result they made up an ending (Act III) which they
+felt was needed to make the story complete. Experience with the other
+plays had led the children to feel the necessity for having a
+satisfactory ending after the climax.
+
+At the second meeting several girls brought in the scenes as they had
+written them out. They had tried to embody the points which the
+children had decided upon as the general plan of the play. The final
+play varies very little from these scenes thus written by the girls
+themselves.
+
+There was no difficulty in solving the problem as to what they would do
+for a baby in the first part of the play. Many dolls were brought in,
+and the choice fell upon the one that received the largest number of
+votes because of his likeness to the baby Moses. A woven basket served
+for the cradle of bulrushes. There were many rehearsals when there was
+no doll or cradle, but the children never felt the lack. Their
+imaginations can supply all needs.
+
+A few big Egyptian designs were made for the first and last scenes,
+which were placed in the king's court. These were fastened on the walls
+and around the king's seat, as was done in the play of _Joseph._
+
+Before the play was given before parents and friends the children
+decided to call it _The Childhood of Moses._ An older boy in the church
+printed programs for the occasion that the audience might better
+understand the play. They read as follows:
+
+     THE CHILDHOOD OF MOSES
+
+     Dramatized and Presented by the Children's Dramatic Club of
+     the Hyde Park Church of Disciples
+
+            CHARACTERS
+
+     PHARAOH           King of Egypt
+     PRINCESS          Pharaoh's Daughter
+     MOSES             A Hebrew Boy
+     HEBREW WOMAN      Mother of Moses
+     MIRIAM            Sister of Moses
+     AARON             Brother of Moses
+     WISE MEN          Advisers of Pharaoh
+     Soldiers, Attendants to the Princess, Servants
+
+
+     SYNOPSIS OF SCENES
+
+     Act I. Pharaoh orders the killing of Hebrew boys.
+
+     Act II, Scene 1. In the home of a Hebrew family.
+
+             Scene 2. A Hebrew mother hides her child
+                      among the bulrushes.
+
+             Scene 3. The child is found by Pharaoh's
+                      daughter.
+
+     Act III. Moses is brought to Pharaoh's court.
+
+The following is the play as it was given:
+
+
+     THE CHILDHOOD OF MOSES
+
+     ACT I
+
+          CHARACTERS: King, Wise Man, Chief Adviser, Queen,
+          Maids, and Soldiers.
+
+     _King:_ Behold, the people of the children of Israel are
+     more and mightier than we. Come, let us do wisely with them
+     lest they rise up and make war against us.
+
+     _Chief Adviser:_ What more can we do than we have already
+     done? We have made their lives bitter with hard service, and
+     we have made them carry our brick and mortar and work in our
+     fields.
+
+     _Wise Man:_ O King Pharaoh, I beg thee to let me speak.
+
+     _King:_ Speak, Wise Man.
+
+     _Wise Man:_ O King, I pray thee to be kind to these people.
+     When these Hebrews first came down from the land of Canaan,
+     a young man named Joseph saved our land from great famine.
+     These Israelites are his children's children and we should
+     treat them kindly.
+
+     _King:_ Treat them kindly! We have been kind to them long
+     enough; we must destroy them. I will command that every
+     Hebrew boy baby be killed!
+
+          [_Exeunt_ KING _and courtiers followed by soldiers._]
+
+     _Princess:_ O most gracious father, have mercy upon them.
+
+
+     ACT II
+
+     SCENE I
+
+          PLACE: The home of a Hebrew family.
+
+          CHARACTERS: Moses, Mother of Moses, Miriam, Aaron.
+
+          [_The mother is singing to the baby in her lap._ AARON
+          _is playing on the floor._ MIRIAM _runs in._]
+
+     _Miriam:_ O mother! The king has commanded that all the boy
+     babies be thrown in the river! How can we save our baby?
+
+     _Mother:_ Where shall we take him? I have hidden him for
+     these three months, but he is so big now and his cries are
+     so loud that they will be sure to find him wherever we go.
+
+     _Miriam:_ Come quickly, mother; we will go to the river and
+     hide him nearby. Pharaoh cannot find him there, for he will
+     think that he has been thrown in the water.
+
+     _Mother:_ O my poor baby!
+
+          [_The three run out._]
+
+
+     SCENE II
+
+          PLACE: The river bank.
+
+          CHARACTERS: Moses, Mother of Moses, Miriam.
+
+          [_The mother appears with the baby in her arms._ MIRIAM
+          _follows._]
+
+     _Miriam:_ O mother! We can hide him in these tall grasses!
+
+     _Mother:_ But I must have something to put him in. Gather
+     these rushes and I will weave a little cradle for him.
+
+          [_They both pick bulrushes and the mother weaves the
+          basket._]
+
+     _Mother:_ How can I leave him here alone? My little
+     daughter, will you stay and watch and bring me word quickly
+     if anything happens? We will hide the baby in this basket
+     among the flags, here at the edge of the water.
+
+     _Miriam:_ Good! Mother, I will hide nearby and see that no
+     harm comes to our baby.
+
+          [_The mother kisses the baby and puts him in the basket,
+          then rises and turns away._]
+
+     _Mother:_ Keep watch until I return.
+
+          [_Exit mother;_ MIRIAM _hides._]
+
+
+     SCENE III
+
+          PLACE: The river bank.
+
+          CHARACTERS: The Princess, Her Maidens, Soldiers, Moses,
+          Mother of Moses, and Miriam.
+
+          [_Several soldiers walk across the stage. Enter_
+          PRINCESS _and her maids._]
+
+     PRINCESS [_looking around_]: What beautiful clear water for
+     my bath!
+
+     _First Maid:_ Yea, Princess. Will you bathe here?
+
+          [_A baby's cry is heard._]
+
+     _Princess:_ What is it I hear? It sounds like a baby crying!
+     Look about, maidens! Is there something here?
+
+          [_All look about._]
+
+     _Second Maid_ [_finds baby; all come running up to her_]:
+     See what is here!
+
+     _Princess:_ A baby hidden in a basket! Bring him to me!
+
+          [_Third maid hands basket to_ PRINCESS, _who takes the
+          baby out._]
+
+     _Princess:_ Oh, what a beautiful baby! He is mine, for I
+     have found him! A Hebrew baby! His mother has hidden him in
+     the bulrushes to save his life.
+
+          [MIRIAM _runs out._]
+
+     _Miriam:_ Lady, would you like a nurse for that baby?
+
+     _Princess:_ A nurse for him? Yes, I do need a nurse.
+
+     _Miriam:_ I can get you one very quickly.
+
+     _Princess:_ Go bring her, child; I will wait here.
+
+          [MIRIAM _goes away running._]
+
+     _Princess:_ He is my boy, and I will call him Moses, for I
+     drew him out of the water.
+
+          [_Enter the mother and_ MIRIAM.]
+
+     _Miriam:_ Here is the nurse, lady.
+
+     _Princess:_ Will you take good care of this baby for me
+     until he becomes a youth? I will pay you wages. I am the
+     Princess, King Pharaoh's daughter. I will see that he is
+     educated as a prince in my father's court.
+
+          [PRINCESS _and her maids go out._]
+
+     _Mother:_ My boy is saved! My boy is saved!
+
+
+     ACT III
+
+     SCENE I
+
+          PLACE: Pharaoh's palace.
+
+          CHARACTERS: King Pharaoh, Princess, Maids, Soldiers,
+          Wise Men, Mother of Moses, Moses, Miriam, Aaron.
+
+          [_King sits on his throne, wise men and soldiers around.
+          Enter messenger._]
+
+     _Messenger:_ O King, the Princess awaits without and would
+     have speech with thee.
+
+     _King:_ Bid her enter.
+
+          [_Enter_ PRINCESS _and a few attendants._]
+
+     _Princess:_ O gracious King and father, I have a request,
+     and I beg that you grant it.
+
+     _King:_ Speak, my Princess; do I not always grant what you
+     ask?
+
+     _Princess:_ Yes, father, and I know that you will grant me
+     this. Several years ago I adopted a son and I ask that you
+     allow him to be educated in your palace.
+
+     _King:_ Adopted a son! What can be the meaning of this? I
+     never heard of this! Where did you get the boy?
+
+     _Princess:_ I found him, a little baby, hidden among the
+     rushes by the river bank.
+
+     _King:_ Why was he hidden? That is strange!
+
+     _Princess:_ He is a Hebrew boy, O father.
+
+     _King:_ A Hebrew boy! Did I not command that every Hebrew
+     boy should be killed?
+
+     _Princess:_ I must take the blame; I had his life spared.
+     Will you not let him be brought here?
+
+     _King:_ No, I will not! No Hebrew boy shall be brought here!
+
+     _Princess:_ If you would only see him, he is so beautiful,
+     you would love him as I do. He is without; permit me to show
+     him to you.
+
+     _King:_ Bring him in.
+
+          [_Maid goes to get_ MOSES. MOSES _enters with his
+          mother_, MIRIAM, _and_ AARON. PRINCESS _leads him to
+          the_ KING.]
+
+     _Princess:_ This is my son. Is he not a wonderful boy?
+
+     _King:_ He is fair to look upon, but yet he is a Hebrew.
+
+     _Princess:_ O my father, forget that he is a Hebrew and
+     remember only that he is my son.
+
+     _King:_ O my Princess, for your sake, I accept this boy. I
+     leave his training to you. May he grow up to be a prince
+     worthy of the house of Pharaoh.
+
+     END
+
+
+
+
+CHAPTER VI
+
+THE DRAMATIZATION OF _RUTH_
+
+
+_Ruth_ was dramatized by the club during the fall of the year because
+it is a story of the Hebrew harvest time. In order fully to interpret
+the life of Ruth it was necessary for the children to secure
+information concerning the barley harvest in ancient Palestine, and
+also to become familiar with the old customs involved in the story.
+Many children brought pictures which illustrated the points under
+discussion, and some of them contributed by telling what they had been
+able to read at home. Independence on the part of the children in
+looking up data was always encouraged by the leader; the information
+which she had to give enriched and supplemented that which was brought
+in by them.
+
+During the process of this dramatization constant comparisons were made
+with our own harvest time, and the study of the Hebrew harvest feasts
+and festivals served to increase the understanding and appreciation of
+our one harvest festival at Thanksgiving.
+
+The method of procedure in presenting this story for dramatization
+follows closely that described in connection with _Joseph._ The Bible
+version of _Ruth_ is so simply and beautifully told that it needed
+very little adapting. When it was first given to the children parts of
+it were read and parts were told by the leader. Many scenes were then
+planned, but these were soon cut down to the three necessary scenes.
+From the first the children used much of the Bible language as they
+acted the story. The beauty and the poetry of it caused them to
+remember readily the exact wording in many cases.
+
+Seven meetings were required before the group was satisfied with the
+play as a product of their best effort. As was the case with the other
+plays given by the club, the children who were to take the parts in the
+final presentation were selected by the group and not by the leader in
+charge. Every child knew each part and could represent any character,
+but children were chosen for specific parts because they seemed to
+represent certain characters unusually well.
+
+The dramatization of this story called for much construction work. The
+reapers made their sickles of cardboard and covered them with gold or
+silver paper or painted them. They found pictures which gave the shape,
+and from these they cut the patterns (Fig. 15). One little girl brought
+a real sickle which had once belonged to a Filipino. It gave her
+happiness to reap with it, but the others were just as content to use
+the sickles from cardboard.
+
+The need for a harvest song was felt, and in consequence a little song
+that most of the children knew was decided upon. The reapers sang it as
+they reaped and while Boaz was walking through his grain field. There
+was no real grain nor anything to represent it, the children deciding
+to leave this to the imagination. The action of the reapers and the
+words that were spoken gave evidence enough that grain was growing
+there.
+
+There was very little stage setting used in the play. The stage was
+bare in the first scene in order to represent the road from Moab to
+Bethlehem. In the second scene a big earthenware jar was needed from
+which the reapers could drink. The third scene required a box which
+represented a seat by the city gate; the door which led off the stage
+at the side was used for the gate.
+
+The action and the grouping of people in the third scene required
+careful planning by the children. Women came through the gate and
+passed down the street with water jugs on their shoulders; men gathered
+in groups to discuss bits of news; Boaz walked toward the gate and sat
+waiting for his kinsman. Finally, when the cousin appeared, Boaz hailed
+him and had him sit down. The citizens who were standing near were
+asked to be witnesses in this business transaction. That one man should
+take off his shoe and hand it to another was a custom that created much
+interest among the children. They began to examine pictures for the
+kinds of shoes that were worn, and this led many of them to wear their
+own sandals, which approached most nearly to those seen in the
+pictures. The children who did not own sandals tried to make them with
+cardboard and strips of cloth (see Fig. 26).
+
+The costuming was very simple. The reapers wore the same little brown
+slips which had been worn in every play that had been given. Boaz
+enriched his costume by wearing brighter colors in his headdress and
+girdle and by wearing a slip that was longer than the others.
+
+The play follows as it was finally given.
+
+
+     RUTH
+
+
+     SCENE I
+
+          PLACE: In Moab, on the road to Judah.
+
+          CHARACTERS: Naomi, Ruth, Orpah.
+
+          SETTING: Naomi, Ruth, Orpah, are on the road going
+          toward Judah.
+
+          [NAOMI _stops and faces about._]
+
+     _Naomi:_ Turn back, my daughters-in-law; return each of you
+     to your mother's house. You have come with me far enough. I
+     must take the rest of my journey alone.
+
+     _Orpah and Ruth:_ Oh, do not send us back! We will not leave
+     thee!
+
+     _Naomi:_ Yea, you must leave me now. I am going home to my
+     own country and my own people, to Bethlehem, Judah! It is
+     ten long years since I left there to come to dwell in your
+     land of Moab. But now that the famine is over I must
+     return.
+
+     _Orpah:_ But, Naomi, our mother-in-law, we love thee. Do not
+     thou leave us!
+
+     _Naomi:_ I must go. I came to this country happy--with my
+     husband and two sons--but misfortune has dealt bitterly with
+     me. My husband first died, and now my two sons, your
+     husbands, are taken from me. I am old and sad. I have no one
+     left to comfort me. I must go back to mine own people. Leave
+     me, my daughters, and God bless you!
+
+          [_Both daughters weep._]
+
+     _Orpah_ [_weeping and kissing_ NAOMI]: If thou wilt be
+     happier, then thou must leave us. I will return to my
+     mother's house as thou sayest. [_She goes off slowly,
+     weeping._]
+
+          [RUTH _still stands by weeping. Takes hold of_ NAOMI'S
+          _hand._]
+
+     _Naomi:_ Behold, Orpah, thy sister-in-law, has gone back to
+     her people and unto her gods; return thou after thy
+     sister-in-law.
+
+     _Ruth:_ Intreat me not to leave thee, nor to return from
+     following after thee: for whither thou goest, I will go; and
+     where thou lodgest, I will lodge; thy people shall be my
+     people, and thy God my God: where thou diest, will I die,
+     and there will I be buried: the Lord do so to me, and more
+     also, if aught but death part thee and me.
+
+     _Naomi:_ Since thou art so steadfastly minded to go with me,
+     Ruth, I will cease urging thee. Come, thou mayest go with me
+     to Bethlehem.
+
+
+     SCENE II
+
+          PLACE: In the barley fields of Boaz.
+
+          TIME: The harvest season.
+
+          CHARACTERS: Boaz, Ruth, Head Reaper, Reapers, Gleaners.
+
+
+          [_The reapers come in with their sickles, followed by
+          the gleaners._]
+
+     _Head Reaper:_ Truly we have a wonderful harvest this year!
+
+     _First Reaper:_ Yea, we will have food enough for ourselves
+     and for all the poor in our city of Bethlehem.
+
+     _Head Reaper:_ It is the great God that hath given us this
+     bounty.
+
+          [_All sing harvest song as they reap. While they are
+          singing_ RUTH _comes in and begins to pick up the
+          grain._]
+
+     _Second Reaper_ [_looking toward the entrance to the
+     field_]: The master is coming, the great Boaz!
+
+          [_All reapers look in that direction as they stand,
+          resting their sickles on the ground._ BOAZ _enters._]
+
+     _Boaz:_ The Lord be with you!
+
+     _Reapers:_ The Lord bless thee!
+
+          [_All go to work again, singing as before._ BOAZ _walks
+          among them; he sees_ RUTH _and watches her._]
+
+     _Boaz_ [_to the_ HEAD REAPER]: My good man, I would speak a
+     word with thee; come hither.
+
+     _Head Reaper:_ Speak, O master!
+
+     _Boaz:_ Whose damsel is this that gathereth grain after the
+     reapers?
+
+     _Head Reaper:_ My master, she is Ruth, the Moabitish damsel
+     that came back with Naomi, thy kinswoman. She hath been
+     gleaning here since early morning.
+
+     _Boaz:_ Go, bid the reapers not to harm her, and bid them
+     let fall purposely some of the handfuls of grain for her.
+
+          [_The_ HEAD REAPER _bows low and goes back among the
+          reapers._]
+
+     _Boaz_ [_to_ RUTH]: Hearest thou not, my daughter? Go not to
+     glean in another field, but stay here by my reapers. Let
+     thine eyes be on the reapers, and do thou glean that which
+     they leave behind. When thou art athirst, go unto the
+     vessels and drink that which the young men have drawn.
+
+     _Ruth_ [_bows to the ground_]: Why have I found such favor
+     in thine eyes, seeing that I am a stranger in the land?
+
+     _Boaz:_ It has been told me of thy great kindness to thy
+     mother-in-law, Naomi; how thou didst leave thine own people
+     to come with her and be among strangers; and how thou didst
+     leave thy gods to take the God of the children of Israel.
+     The Lord will bless thee for this.
+
+     _Ruth:_ I thank thee, O great Boaz, for thou hast comforted
+     me and thou hast spoken friendly words unto me.
+
+     _Boaz:_ Come hither at meal times and eat of the bread and
+     dip thy morsel in the vinegar with my reapers.
+
+          [_The reapers have departed._ BOAZ _goes off._]
+
+     _Ruth:_ The Lord God is truly good unto me!
+
+
+     SCENE III
+
+          PLACE: At the gate of the city.
+
+          CHARACTERS: Boaz, a Cousin of Naomi, Ten Citizens, Ruth,
+          Naomi.
+
+          [_Several citizens stand in groups, talking._ BOAZ
+          _enters._]
+
+     _Boaz_ [_speaks to one of the group_]: Hast thou seen my
+     cousin pass this way? I am seeking him.
+
+     _First Citizen:_ Nay, good sir, I have not seen him.
+
+     _Boaz:_ I must speak with him; I will wait here by the city
+     gate; perchance he will come soon.
+
+          [_One or two citizens pass by and speak to_ BOAZ,
+          _saying, "Good-day, sir." Enter_ KINSMAN.]
+
+     _Boaz:_ Ho, Kinsman, turn aside! I would have a word with
+     thee. Sit thee down.
+
+          [KINSMAN _sits down._]
+
+     _Kinsman:_ What wilt thou, Cousin?
+
+     _Boaz:_ I would speak about a matter of importance; wait
+     thou here until I can bring witnesses. [_He turns to
+     citizens._] A piece of land is about to be sold; will ten
+     citizens witness this deed?
+
+     _Citizens:_ Aye, indeed. [_They come forward._]
+
+     _Boaz:_ Sit ye down here. [_They sit down._] [_To_ KINSMAN]:
+     Dost thou remember Naomi, our kinswoman, who went with her
+     husband and two sons to the land of Moab?
+
+     _Kinsman:_ Yea, I do know Naomi.
+
+     _Boaz:_ She selleth a parcel of land which was her
+     husband's. Now, thou art nearest of kin to Naomi, so I
+     thought to advise thee that thou mayest have the first
+     chance to redeem the land in the presence of the elders of
+     the city. If thou dost not care to redeem it, then the right
+     to redeem it cometh to me, for I am next of kin. What wilt
+     thou do?
+
+     _Kinsman:_ I will buy the land from our kinswoman, Naomi.
+
+     _Boaz:_ On the day that thou buyest the field from the hand
+     of Naomi, thou also takest Ruth, the Moabitess, for thy
+     wife, according to our custom and law.
+
+     _Kinsman:_ Then I will not redeem the land, for I cannot
+     take Ruth for my wife. Take thou my right to redeem it and
+     buy it for thyself.
+
+     _Boaz_ [_taking off his shoe and giving it to the_ KINSMAN,
+     _he says to the witnesses_]: Ye are witnesses this day that
+     I have bought this parcel of land from Naomi and that I buy
+     also, as my wife, Ruth, the daughter-in-law of Naomi. Of all
+     this ye are witnesses.
+
+     _Citizens:_ We are witnesses. [_Bow._]
+
+          [KINSMAN _returns shoe to_ BOAZ _and walks off._ RUTH
+          _and_ NAOMI _come through the street._]
+
+     _Boaz:_ Ye are well met, Naomi, my kinswoman, and Ruth. I
+     have good news for you; I have bought your land and I can
+     now take Ruth for my wife. Come, all ye fellow-citizens, for
+     the wedding feast is prepared at my house!
+
+          [_Takes_ RUTH _by the hand._]
+
+     _Naomi:_ Blessed am I that I should live to see this good
+     thing come to pass! The Lord hath been most gracious unto
+     me!
+
+     END
+
+
+
+
+CHAPTER VII
+
+THE DRAMATIZATION OF _QUEEN ESTHER_
+
+
+The story of Esther involves a much more complicated situation than any
+of the others here described. It is not too difficult for
+dramatization, however, if it is taken after such stories have been
+worked out as _David and Goliath_ and _Joseph._
+
+In the case of this dramatic club the story of Esther was told to the
+children after they had had much experience with other plays. The
+interesting plot and the beauty and richness of the court made so great
+an appeal to them that they were eager to begin the dramatization. The
+story was first simplified and adapted by the leader, and then told in
+such a manner as to emphasize the main events. The method of procedure
+followed that described in chapter iii in connection with the story of
+Joseph. After the telling of the story the scenes were selected. These
+were acted out very freely at first, little thought being given to the
+words. Many pictures were brought in, and descriptions of the court of
+King Ahasuerus were read by the children from the Bible and from books
+of Bible stories.
+
+In the second scene the children decided to have the maidens dance
+before the King. Several little girls who were trying out the part of
+Esther made up dances for themselves. This feature made this scene
+especially attractive.
+
+This play was longer than those that had previously been dramatized,
+and it therefore took a longer period of time to bring it into final
+shape. There is no reason to hurry a dramatization. If the aim of this
+kind of work is kept in mind, there will be growth on the part of the
+children at each meeting. The value lies, not in how many stories can
+be dramatized during a year, but in how thoroughly the children are
+reliving a few good stories.
+
+The play of _Queen Esther_ made it necessary to construct several
+articles. Gold dishes of various kinds were made by covering cardboard
+with gold paper. These were used at the Queen's banquet. From the many
+scepters that were submitted the King chose the one for final use.
+Elaborate gowns and headdresses were gathered; beads and jewels of all
+descriptions were made from brilliantly colored papers.
+
+The children took the responsibility of the costuming. The majority of
+them planned their own garments and either brought things from home or
+selected some suitable costume from those which the club had on hand.
+Two of the older girls took entire charge of the younger ones and saw
+to it that each had some simple slip to wear in the play.
+
+The play follows as it was finally worked out by the children.
+
+
+     THE STORY OF QUEEN ESTHER
+
+     SCENE I
+
+          PLACE: The King's palace--Shushan.
+
+          CHARACTERS: King Ahasuerus (king of Media and Persia),
+          Haman (chief counselor), Persian Princes, Servants.
+
+          [_The_ KING _is seated on his throne, princes seated
+          before the_ KING, _and_ HAMAN _is seated by the_ KING'S
+          _side. Servants are bringing drinks in golden vessels._]
+
+     _King:_ The seventh day of this feast hath come, and on this
+     day will I bring my beautiful Queen, Vashti, before you. The
+     princes of my land must depart, bearing a good report of my
+     fair Queen as well as of the great riches of my court.
+     Chamberlains, come forth! [_The servants come before the_
+     KING _and bow._] I command you to bring Vashti, the Queen,
+     before my presence. [_Servants withdraw._]
+
+     _First Prince:_ O King, this is a great honor that thou
+     bestowest upon us!
+
+     _Second Prince:_ Yea, Vashti, the Queen, is already known
+     over the land for her wondrous beauty. We are most happy
+     that thou wilt allow thy servants to behold her.
+
+     _Third Prince:_ What wonderful tidings we will spread over
+     thy provinces, O King. Thy people do not know the half of
+     thy riches and thy wonderful greatness and generosity.
+
+          [_Enter servants. They bow low._]
+
+     _King:_ Rise; what is thy message?
+
+          [_They do not rise._]
+
+     _First Servant:_ O King, be merciful unto us!
+
+          [_They bow lower._]
+
+     _King:_ What meaneth this? Speak! [_in astonishment_] I
+     command thee. Where is the Queen?
+
+     _Second Servant:_ O great King, we delivered thy message as
+     thou didst command, but the Queen has refused to come before
+     thy presence.
+
+          [_All the princes and the_ KING _show surprise and
+          anger._]
+
+     _King:_ Refused to obey me? This is impossible! Are ye
+     certain that she understood the meaning of my command?
+
+     _Servants:_ We are, O King.
+
+     _King:_ She hath refused! It cannot be! [_He looks absently
+     away._] She must be punished.
+
+     _Haman:_ What shall we do to Queen Vashti according to the
+     law, because she hath not performed the commandment of King
+     Ahasuerus?
+
+     _First Prince:_ She hath not done wrong to the King only,
+     but also to all the princes of the land, for this deed of
+     the Queen shall become known unto all the women of Media and
+     Persia and they shall despise the command of their husbands:
+     "Because," they shall say, "King Ahasuerus commanded Vashti,
+     the Queen, to be brought before him and she came not."
+
+     _Second Prince:_ What shall we do? This will cause great
+     trouble and disobedience.
+
+     _King:_ What thinkest thou, Haman, my chief counselor?
+
+     _Haman:_ If it please the King, let there go forth a royal
+     commandment and let it be written among the laws of the
+     Medes and Persians that Vashti come no more before
+     Ahasuerus, and let the King give her royal estate to
+     another that is better than she. Then when this decree
+     shall become known all wives shall give honor unto their
+     husbands.
+
+     _King:_ This saying pleaseth me greatly. I shall do
+     accordingly. [_To servants_]: Send letters unto every
+     province to every people, which shall state this decree, so
+     that every man shall know it.
+
+     _Haman:_ O King, I pray thee, let there be fair maidens
+     brought before thee from which thou shalt choose another
+     which shall be thy Queen.
+
+     _King:_ So be it! See that fair maidens from every province
+     be brought here to my palace; and the one that pleaseth me
+     best, I will take her for my Queen.
+
+          [_All bow._]
+
+
+     SCENE II
+
+          PLACE: At Shushan, the palace.
+
+          CHARACTERS: King Ahasuerus, Mordecai, Maidens, Haman,
+          Servants, Courtiers.
+
+          [_Two servants are standing in the court room of  the
+          palace. Enter a messenger followed by_ ESTHER _and_
+          MORDECAI.]
+
+     _Messenger_ [_announces to the servants in the room_]: This
+     maiden has come to see the King.
+
+          [_He goes out._]
+
+     _First Servant:_ This is the place. Wait thou here. [_To_
+     MORDECAI]: What art thou here for? Thou wilt have to depart.
+
+     _Mordecai:_ I only brought this maiden. I beg of thee let me
+     have a few words with her; then I will withdraw.
+
+     _First Servant:_ Speak then quickly, before the King cometh.
+
+          [_Servants withdraw to another part of the room._]
+
+     [Illustration: FIG. 3.--Esther and Mordecai]
+
+     _Mordecai_ [_taking_ ESTHER'S _hand_]: Esther, my child,
+     thou art like my very child, for although I am but thy uncle
+     I have been as a father to thee. I bid thee farewell now,
+     for it seemeth to me that the King will surely choose thee
+     to be his Queen--thou art so fair. This one thing remember,
+     tell him not that thou art a Jewess. Fare thee well, Esther!
+     May the Lord bless thee!
+
+     _Esther:_ Farewell to thee, Mordecai!
+
+          [MORDECAI _goes out. Other maidens come in announced by
+          the messenger._]
+
+     _Messenger:_ These maidens would see the King.
+
+          [_The servants show them where to sit. Enter second
+          messenger._]
+
+     _Second Messenger:_ The King! The King!
+
+          [_Enter_ KING _and_ HAMAN. KING _sits on his throne._]
+
+     Second Servant [_bowing before the_ KING]: O King, the
+     maidens from all parts of the country have arrived and await
+     thy pleasure.
+
+     _King:_ Let them come before my presence one at a time, and
+     I will choose from among them the one that seemeth most
+     fair.
+
+          [_The musicians begin playing and, one by one, the
+          maidens come out. They bow and dance._ ESTHER _comes
+          last of all. As_ ESTHER _dances the_ KING _speaks._]
+
+     _King:_ What marvelous beauty! Surely this maiden is fair
+     enough to be my Queen.
+
+     _Haman:_ Yea, O King, thou art right; she should be thy
+     Queen.
+
+     _King_ [_takes_ ESTHER'S _hand_]: What is thy name, fair
+     maid?
+
+     _Esther:_ My name is Esther, O King.
+
+     _King:_ Esther, I do here take thee to be my Queen. Bring
+     the royal crown and the Queen's robes!
+
+          [_Servants come immediately and put them on her._]
+
+     [Illustration: FIG. 4.--Esther dances before the king]
+
+     _King_ [_leading_ ESTHER _out_]: Come unto the wedding feast
+     which is now prepared. All are welcome!
+
+
+     SCENE III
+
+          PLACE: The palace gate.
+
+          CHARACTERS: Haman, Mordecai, Servants, Esther.
+
+          [_Servants are standing and walking by the gate. Women
+          come by carrying water jars._ MORDECAI _stands apart
+          from the crowd._ HERALD _comes in._]
+
+     _Herald:_ Bow the knee, bow the knee. The chief counselor,
+     Haman, approacheth! Thus saith the King.
+
+          [HAMAN _comes in. All bow to him except_ MORDECAI.]
+
+     _Haman_ [_pointing to_ MORDECAI]: Who is this man who doth
+     not bow the knee to me?
+
+     _First Servant:_ He is Mordecai, the Jew, my lord. [_To_
+     MORDECAI]: Why dost thou break the King's commandment?
+
+     _Haman:_ Thou Jew! Dost thou think that thou art mightier
+     than I, whom the King hath set above all the princes of the
+     land? Thou shalt suffer for this. [_Turns to servant._] Send
+     letters unto all the King's provinces, to destroy, to kill,
+     and to cause to perish all Jews, both young and old, little
+     children and women, in one day--even upon the thirteenth day
+     of the twelfth month, and to take the spoil of them for
+     prey.
+
+          [_Servant bows and goes away._ HAMAN _passes on,
+          leaving_ MORDECAI _with two servants._ MORDECAI, _in
+          deep thought, walks anxiously up and down._]
+
+     _Mordecai:_ I must see Queen Esther. Canst thou not take me
+     to the Queen?
+
+     _Second Servant_ [_laughing scornfully_]: Thinkest thou that
+     the Queen will see thee?
+
+     _Mordecai:_ Give the Queen this paper and say to her that I,
+     Mordecai, the Jew, bid her come to me.
+
+          [_Servant withdraws._]
+
+     _Mordecai_ [_walking, talks to himself_]: Israel, O Israel,
+     my people! You shall not perish. Esther, your Queen, will
+     save you.
+
+          [_Enter_ ESTHER.]
+
+     _Esther:_ Mordecai, my uncle, why art thou here? Thou
+     lookest unhappy. Hath aught happened to thee?
+
+     _Mordecai:_ Yea, Esther, I am unhappy. I have sorrowful news
+     to tell thee.
+
+     _Esther:_ Chamberlains, withdraw! Speak, Mordecai; tell me
+     quickly. It may be that I can help thee.
+
+     _Mordecai:_ Esther, thou canst help me, and thou art the
+     only one who can. Haman, the King's counselor, hateth the
+     Jews--thy people and mine. He hath sent a decree over all
+     the country commanding that every Jew, both old and young,
+     little children and women, be killed on the thirteenth day
+     of the twelfth month. Esther, thou must save thy people and
+     thyself? Thou must go before the King and beg of him that he
+     spare thy people.
+
+          [ESTHER _shows great distress._]
+
+     _Esther:_ Oh, what shall I do? Dost thou not know that for
+     one who dareth to go before the presence of the King, if the
+     King hath not called him, there is certain death; except to
+     whom the King shall hold out the golden scepter--he may
+     live? I have not been called to come in unto the King these
+     thirty days. He will surely put me to death for such
+     boldness.
+
+     _Mordecai:_ Thou must go unto the King even so. Think not
+     that thou wilt escape death from Haman because thou art in
+     the King's house. Who knoweth but that thou hast been made
+     Queen for such a time as this!
+
+     _Esther_ [_after thinking deeply_]: Go, gather together all
+     the Jews that are present in Shushan, and fast ye for me,
+     and neither eat nor drink for three days, night or day, I
+     also and my maidens will fast likewise--and so I will go in
+     unto the King, which is not according to the law, and if I
+     perish, I perish.
+
+     _Mordecai:_ May the Lord go with thee!
+
+
+     SCENE IV
+
+          PLACE: In the court of the King's palace.
+
+          CHARACTERS: King Ahasuerus, Esther, Haman, Courtiers,
+          Servants.
+
+          [_The King sits on his throne._ QUEEN ESTHER _enters
+          and bows before the_ KING. _The_ KING _looks at her in
+          astonishment._]
+
+     _Courtiers_ [_in loud whispers_]: The Queen! It is the
+     Queen!
+
+     _King:_ Esther, hast thou dared to come before my presence
+     when I have not called thee? Thou surely dost not know what
+     thou art doing! This act of boldness can mean thy death! But
+     thou art so beautiful, Esther, I cannot be hard with thee.
+     Rise! [_He holds out the golden scepter._] What is the
+     request that has brought thee here? It shall be given thee,
+     even though it be half of my kingdom.
+
+          [ESTHER _touches the scepter and rises._]
+
+     _Esther:_ If it seemeth good unto the King, let the King and
+     Haman come this day unto the banquet that I have prepared
+     for them.
+
+          [_She turns and goes out._]
+
+     _King:_ Hearest thou, Haman? Make haste and let us do as
+     Esther hath said. Come, we will prepare for this banquet.
+
+          [HAMAN _bows. The_ KING _and_ HAMAN _go out. Others
+          follow._]
+
+     [Illustration: FIG. 5.--The king holds out the scepter to
+     Esther]
+
+
+     SCENE V
+
+          PLACE: The Queen's apartment.
+
+          CHARACTERS: Queen Esther, King Ahasuerus, Haman,
+          Servants, Mordecai.
+
+          [_The servants are preparing the feast. Enter_ ESTHER.]
+
+     _Esther:_ See ye that the feast is in readiness, for the
+     King will soon arrive.
+
+          [_Servants bow._]
+
+     _Servant:_ The King cometh!
+
+     _Esther_ [_going to meet the_ KING _as he enters_]: Welcome,
+     my lord!
+
+          [_The_ KING _sits upon a throne prepared for him._]
+
+     _King:_ I am happy to be with thee, my fair Queen. Thou must
+     have a request which thou desirest to make--speak, be not
+     afraid. I will grant it though it be half of my kingdom.
+
+     _Esther:_ If I have found favor in thy sight, O King, and if
+     it please the King, let my life be saved and the lives of my
+     people--the Hebrew people. We are to be destroyed, to be
+     slain and to perish.
+
+     _King:_ Thy people? The Hebrew people? Who is this and where
+     is he that dareth in his heart to do this thing to thy
+     people?
+
+     _Esther:_ The enemy is thy chief counselor, this wicked
+     Haman.
+
+     _King:_ Did Haman do this deed? How didst thou know of his
+     plan?
+
+     _Esther:_ O King, Mordecai, the Jew, my uncle, hath shown me
+     the letter which Haman hath sent over the country. The Jews
+     are to be killed on the thirteenth day of the twelfth month.
+     I am begging thee for my life and for the lives of my
+     people!
+
+     [Illustration: FIG. 6.--Queen Esther pleads for her people]
+
+     _King:_ Fear not, Esther; thy people shall be saved.
+     Mordecai, the Jew, hath once done me a great service. He
+     hath not been rewarded for this. He shall have honor, for he
+     deserveth it.
+
+     _Servant:_ The great Haman hath come, O Queen.
+
+          [HAMAN _enters; they seat themselves, and the feast is
+          served._]
+
+     _King:_ Haman, what shall be done unto the man whom the King
+     delighteth to honor?
+
+     _Haman_ [_aside_]: Whom would the King like to honor more
+     than myself? [_To the_ KING]: For the man whom the King
+     delighteth to honor, let the royal apparel be brought which
+     the King useth to wear, and the horse which the King rideth
+     upon, and the royal crown which is set upon his head; and
+     let these be given the man whom the King delighteth to
+     honor; and let him ride on horseback through the streets of
+     the city; and proclaim before him, "Thus it shall be done
+     unto the man whom the King delighteth to honor!"
+
+     _King:_ Make haste and take the royal apparel and the horse
+     as thou hast said and do even so unto Mordecai, the Jew,
+     that sitteth at the King's gate. Let nothing fail of all
+     that thou hast spoken.
+
+          [HAMAN _bows his head low and goes out to_ MORDECAI.]
+
+     _Servant:_ O King, Haman hath built a gallows upon which to
+     hang Mordecai, the Jew, this day.
+
+          [HAMAN _returns with_ MORDECAI _and puts on the crown,
+     etc._]
+
+     _King:_ Let him who hath made the gallows hang upon it!
+
+          [_Servant takes_ HAMAN _out._]
+
+     _King:_ Come near, Mordecai. Thou hast found great favor in
+     mine eyes. From henceforth thou shalt be my chief counselor,
+     and thou shalt rule the land in Haman's place. Thy people
+     shall be spared, and letters shall be sent over all the
+     land and into every province which shall state that the
+     Hebrew people shall not be destroyed, but instead they shall
+     be honored and have joy and feasting.
+
+     _Mordecai:_ I thank thee, O King and Esther, my Queen, for
+     the great deliverance and for this great honor to me. May
+     the Lord give me strength to deal wisely with these peoples.
+
+     _Esther:_ This is a great happiness which thou hast bestowed
+     upon me, O King.
+
+
+
+
+CHAPTER VIII
+
+THE DRAMATIZATION OF _ABRAHAM AND THE THREE GUESTS_
+
+
+This incident should be simplified and adapted before it is told to
+children. The dramatization is best worked out in the form of a short,
+free play which involves only one act. It is unnecessary to carry it to
+the point of fixed words and actions. The emphasis should be placed
+upon the customs of the times which are so well brought out in the
+story; for example, the hospitality of Abraham to the strangers
+represents the feeling toward strangers among the nomad peoples, and
+the manner in which he showed his hospitality makes children acquainted
+with customs peculiar to those people. There is excellent opportunity
+here for enriching the children's understanding of the life of a
+shepherd people, of which the Israelites are an example.
+
+Descriptions and pictures of the kind of tent the people lived in are
+necessary. It is important that children should get the idea of the
+correct shape of the Arab tent and not confuse it with the Indian
+wigwam. No stage scenery need be used; it is best to leave that to the
+imagination. A curtain may be put up to represent the front of the
+tent, but nothing more.
+
+There is much of this incident that should be left out in the telling;
+by no means should it be read directly from the Bible to children. The
+story may be told so that the following points are emphasized:
+
+Abraham is sitting at the door of his tent. Three men appear; he runs
+to meet them and bows to the ground. He invites them to rest under the
+shade of the tree and offers to get food and to have their feet washed.
+The strangers sit and talk together, then Abraham comes with the food.
+They all eat and are rested, and as they rise to depart they ask for
+Sarah, Abraham's wife. The strangers tell Sarah and Abraham that they
+are to have a son whose name shall be Isaac and whom God shall bless
+and who shall be the father of many people. Abraham and Sarah are
+greatly astonished and pleased. They fall upon their knees to thank
+God, and when they arise they find that the strangers have departed.
+The scene closes with their exclamation, "Surely these were angels from
+the Lord who have visited us!"
+
+This story was dramatized by the children of the dramatic club after
+they had had experience with many other dramatizations. During the
+first hour after the story was told the children succeeded in getting
+the play into very nearly its final form. Two of the older girls,
+undertaking to write out the scenes as they thought they should be,
+brought in their versions at the second meeting. Each one was read
+aloud, the other children being asked to remember the parts that seemed
+especially good. Then by combining, adding to, or taking from, a
+composite result was obtained. Several children wrote down the final
+decisions at the dictation of the group.
+
+Below is given the version which one child worked out by herself, and
+following that is the final form of the play which the group as a whole
+decided upon. The leader purposely left this play entirely in the hands
+of the children; the product is wholly their own.
+
+
+     THE PLAY EXACTLY AS ONE CHILD WROTE IT
+
+     _Abraham:_ The day is hot and I am weary. I will rest myself
+     from the heat of the day. [_He seats himself in the shade of
+     the tent._]
+
+     _Sarah:_ It is indeed hot, and I will bring thee food and
+     drink that thou mayest refresh thyself. [SARAH _retires into
+     the tent._]
+
+     _Abraham_ [_rises to his feet and shades his eyes with his
+     hands_]: Sarah, come hither! Yonder are strangers who are in
+     need of rest. [SARAH _comes out, and she and_ ABRAHAM _kneel
+     before them._] Welcome, strangers, seat yourselves that ye
+     may rest. My wife, Sarah, will bring you food, and water
+     that you may wash your feet.
+
+     _First Stranger:_ The Lord bless thee, Abraham. [_Sarah_
+     _and the servants withdraw, and_ ABRAHAM _and the three men
+     seat themselves before the tent._ SARAH _returns with water
+     and food. The strangers wash their feet and eat._]
+
+     _Sarah_ [_offering them food_]: Drink thou this fresh milk,
+     and refresh thyself with this fruit, for ye look weary.
+     [_They finish eating and_ SARAH _and the servants retire._]
+
+     _Second Stranger:_ We bring thee good tidings and would
+     speak with thee and thy wife. [SARAH _comes from within the
+     tent._]
+
+     _Third Stranger:_ We are messengers from the Lord to tell
+     thee that thou wilt have a son.
+
+     _First Stranger:_ He will be the father of many men and
+     thousands will respect him. Ye shall name him ISAAC.
+
+     _Sarah:_ That cannot come to pass! For many years I have
+     been childless, and the Lord will not give me a son.
+
+     _Abraham_ [_falling on his knees_]: Thanks be to the Lord! A
+     son at last!
+
+     _Sarah:_ Can it be that these tidings are true? If so, it is
+     indeed a message from the Lord! [_She too falls on her knees
+     before them. The three men quietly leave, and when_ SARAH
+     _and_ ABRAHAM _rise to their feet they are out of sight._]
+
+     _Abraham:_ They were angels from heaven! Our wish has been
+     granted at last!
+
+     END
+
+
+The following is the play as it was finally presented:
+
+
+     ABRAHAM AND THE THREE GUESTS
+
+          PLACE: In front of the tent of Abraham.
+
+          CHARACTERS: Abraham, a Shepherd; Sarah, His Wife; Three
+          Strangers; Four Servants.
+
+          [ABRAHAM _and_ SARAH _come out of the tent._]
+
+     _Abraham:_ The day is hot, and I am weary; I will sit down
+     and rest in the shade of this tree.
+
+     _Sarah:_ Yea, it is hot. I will bring thee drink and food
+     that thou mayest refresh thyself, my good husband.
+
+          [SARAH _goes into the tent._ ABRAHAM _sees three
+          strangers approaching. He stands up, shades his eyes
+          with his hands, and looks out over the desert. He calls
+          to_ SARAH.]
+
+     [Illustration: FIG. 7.--The three guests bless Abraham and
+     Sarah]
+
+     _Abraham:_ Sarah, my wife, come hither! Lo, I see three
+     strangers approaching over the desert.
+
+          [SARAH _comes out of the tent and looks also._]
+
+     SARAH: They will be weary and in need of rest. I will hasten
+     and prepare food and drink for them also.
+
+          [SARAH _goes away._ ABRAHAM _rises to meet the strangers:
+          he falls on the ground before them._]
+
+     _Abraham:_ Welcome, strangers, to the tent of Abraham! If I
+     have found favor in thy sight, pass not away, I pray thee!
+     Let now a little water be fetched and wash your feet, and
+     rest yourselves under the tree; and I will fetch a morsel of
+     bread, and this will strengthen your hearts; after that ye
+     shall pass on.
+
+     _The Three Strangers:_ So do as thou hast said, good
+     Abraham.
+
+          [ABRAHAM _turns to the servants who are standing near._]
+
+     _Abraham:_ Haste ye, bring water; fetch a calf, tender and
+     good. [_Servants hasten away._] [_To the strangers_]: Sarah,
+     my wife, will make ready three measures of fine meal and
+     knead it into cakes.
+
+     _First Stranger:_ Our host, Abraham, is a true servant of
+     the Lord.
+
+     _Second Stranger:_ We are indeed weary; we have journeyed
+     far across the desert.
+
+          [_Servants appear with water and food._ SARAH _also
+          brings food to them._]
+
+     _Sarah:_ Drink thou this fresh milk, and refresh thyself
+     with these dates, for ye look weary.
+
+     _Third Stranger:_ This is indeed a rest.
+
+          [SARAH _goes into the tent and the strangers finish
+          eating. The strangers rise to go._]
+
+     _Abraham:_ Tarry yet awhile with us.
+
+     _First Stranger:_ We thank thee, good Abraham, but we must
+     be on our way.
+
+     _Second Stranger:_ We would speak with thee and thy wife,
+     Sarah. Where is thy wife?
+
+     _Abraham:_ Sarah, come hither.
+
+          [SARAH _appears._]
+
+     _Third Stranger:_ We bring you a message from the Lord. You
+     shall have a son, and his name shall be Isaac. He shall be
+     the father of many men, and thousands shall respect him.
+
+     _Sarah:_ Surely, this cannot come to pass!
+
+     _Abraham:_ Thanks be to God for this great gift!
+
+          [SARAH _and_ ABRAHAM _fall down on their knees before
+          the strangers. The strangers stretch out their hands to
+          bless them._]
+
+     _Three Strangers:_ The Lord will bless you, Sarah and
+     Abraham!
+
+          [_The strangers depart._ ABRAHAM _and_ SARAH _arise._]
+
+     _Abraham and Sarah:_ Surely these were angels from the Lord!
+
+     END
+
+As this play was very short, the suggestion was made that we might
+lengthen the program, as well as make it more interesting, by having
+some of the children tell the audience just how we worked up the
+dramatization. The two older girls undertook this and decided entirely
+by themselves just what they would say. One of them wrote with great
+care a description of the method of procedure. She read it to the club
+for approval, then she learned it by heart and gave it in an
+interesting manner to the audience on the day the play was given. The
+other girl wrote a poem about it, and recited it just before the play
+was given. The description and poem are as follows:
+
+
+     THE INTRODUCTION
+
+     BY MARGARET MILLER
+
+
+     The play which the children are now going to give--_Abraham
+     and the Three Guests_--has been worked out and practiced at
+     the dramatic club. This club meets every Sunday afternoon
+     from three until four o'clock, and is composed of any of the
+     children of the Sunday school who wish to belong.
+
+     The first Sunday Miss Miller told the story to the members,
+     and then they, knowing it, acted it out, making up the parts
+     as they went along. This they did several times until they
+     knew the story perfectly.
+
+     The two oldest girls did not take part in the acting of the
+     play, but became assistants and helped Miss Miller direct
+     it. During the next week the assistants wrote out the
+     speeches very much as the children had made them up. These
+     were read before the club and discussed, and after a number
+     of suggestions had been added by all the children present
+     the scene was finally written as it now is.
+
+     The children each took home a part to learn, and the
+     following Sunday they all tried the different speeches.
+     Before the final characters were chosen each child was able
+     to represent any one of them. The final characters were
+     decided upon by the group and were chosen according to their
+     preferences and their ability to enact the different parts.
+
+     Unfortunately, most of the costumes which the club had on
+     hand were much too small for the children this year. We
+     therefore held a sewing-bee during the week, and lengthened
+     the old ones or made new ones where we found it necessary.
+
+     We have worked on this play for five meetings, which
+     represents altogether five hours, except for a little work
+     that the assistants did outside.
+
+     We have had much fun with this play, and we are hoping that
+     you will enjoy it too.
+
+
+     POEM
+
+     BY MELBA PYLE
+
+     Before you soon you shall see
+     The story of _Abraham and the Strangers Three._
+     The partakers, they have worked;
+     The assistants, they have shirked--
+     But not as much as you would think,
+     For they have helped to join each link.
+     As day by day passed quickly away
+     We read the Bible and wrote the play.
+     Each child helped as best he could,
+     And thus we worked in brotherhood.
+     Word with word we did neatly join,
+     Then home we went, our parts to learn,
+     Next to the box where the costumes lay,
+     And straight to sewing and not to play.
+     And 'tis our happy aim, you see,
+     To make you joyous as can be!
+
+
+
+
+CHAPTER IX
+
+THE DRAMATIZATION OF _DANIEL IN THE LIONS' DEN_
+
+
+The story of _Daniel in the Lions' Den_ was dramatized by the members
+of the club according to the same methods as those which were used in
+connection with the story of _Abraham and the Three Guests._
+
+This play is given here in order to show how a story which deals with a
+miraculous event may be treated. When Daniel was thrust into the den of
+lions, he was in reality put out of the door which opens at the side of
+the stage. The children readily came to the decision that it was
+unnecessary to show Daniel actually in the den of lions on the stage.
+In telling the story no explanation was made or asked for concerning
+the miracle which happened. The children accepted it and enjoyed it as
+they would any other good story.
+
+The final play which follows represents entirely the children's
+interpretation; the product is their own.
+
+
+     DANIEL IN THE LIONS' DEN
+
+
+     SCENE I
+
+          PLACE: The court room of King Darius.
+
+          CHARACTERS: King Darius, Daniel, Four Conspirators,
+          Soldiers, Servants.
+
+          [KING DARIUS _is seated on his throne. Soldiers and
+          attendants stand nearby. The conspirators are talking
+          together at one side._ DANIEL, _followed by two
+          soldiers, comes in and kneels before the_ KING.]
+
+     _Daniel:_ King Darius, live forever!
+
+     _King Darius:_ Good Daniel, I have sent for thee that thou
+     mayest know my will. It has pleased me to set over my
+     kingdom one hundred and twenty princes, and over these
+     princes have I set three rulers. Thou hast been so faithful
+     and true that I wish to make thee the first of these three
+     rulers. Thou shalt have great responsibility, and thou shalt
+     report to me when thou thinkest it well to do so.
+
+     _Daniel:_ Thou art kind and gracious unto me, O King! May
+     the Lord, Jehovah, help me to do this.
+
+     _King Darius:_ Come unto the feast, Daniel, and have the
+     royal robe placed on thee.
+
+          [DANIEL _bows to the_ KING _and they both go out,
+          followed by the soldiers and servants._]
+
+          [_The conspirators are left alone in the room. They
+          show great anger and begin talking to each other._]
+
+     _First Conspirator:_ See how this Daniel has found favor in
+     the King's sight! He is not of our country, he belongs to
+     the Hebrew people; but the King has appointed him over us
+     all! We must destroy this Daniel.
+
+     _Second Conspirator:_ Yea, thou art right. What can we do?
+
+          [_They all walk back and forth in deep thought._]
+
+     _Third Conspirator:_ I can think of nothing against him!
+
+     _Fourth Conspirator:_ Thou sayest the truth; he hath no
+     fault. He is faithful and doth nothing wrong.
+
+     _First Conspirator:_ I can think of nothing, save that we
+     find it against him concerning his God.
+
+     _Fourth Conspirator:_ Ah, that is true; Daniel worshipeth a
+     different God; I have seen him praying thrice in one day.
+
+     _Second Conspirator:_ Let us influence the King to make a
+     firm decree that whosoever shall worship any God or man,
+     save the King, for thirty days, he shall be cast into the
+     den of lions.
+
+     _Third Conspirator:_ That soundeth well! If Daniel be
+     faithful to his God, he will surely disobey this decree; and
+     if the King once signeth it, the law of the Medes and the
+     Persians saith that it cannot be altered.
+
+     _First Conspirator:_ Ah, this will surely be Daniel's ruin
+     now!
+
+     _Fourth Conspirator:_ Come, let us hasten to the King and
+     have him establish and sign this decree. He will be pleased;
+     he will not think of Daniel.
+
+     _Third Conspirator:_ Yea, we will hasten before the setting
+     of the sun.
+
+
+     SCENE II
+
+          PLACE: The same as in scene i.
+
+          CHARACTERS: The same as in scene i.
+
+          TIME: Several days after the events in scene i.
+
+          [_The_ KING _is seated on his throne. The four
+          conspirators come before the_ KING _and kneel._]
+
+     _The Conspirators:_ Great King Darius, live forever!
+
+     _King Darius:_ Arise, my friends!
+
+     _First Conspirator:_ O King, hast thou not signed a decree
+     that he who shall pray to any God or man within thirty days,
+     save to thee, shall be cast into the den of lions?
+
+     _King Darius:_ This thing is true, according to the law of
+     the Medes and Persians, which altereth not.
+
+     _Second Conspirator:_ A man in thy kingdom regardeth not
+     this law, and doth pray to his God three times a day--we
+     have seen him!
+
+     _King_ [_with anger_]: Who is this man that breaketh my
+     laws?
+
+     _First Conspirator:_ He is Daniel, whom thou hast favored
+     and made ruler!
+
+     _King Darius_ [_with surprise and sadness_]: Daniel! It
+     cannot be! Daniel must not die, for I love him.
+
+     _Third Conspirator:_ Thou knowest, O King, that the law of
+     the Medes and Persians is that no decree which the King
+     establisheth may be changed.
+
+     _King_ [_sadly_]: Thou sayest truly; the King's word may not
+     be broken. Bring Daniel hither.
+
+          [_Soldiers go for_ DANIEL. _The_ KING _walks back and
+          forth in great distress._]
+
+     _King_ [_talking to himself_]: Oh, I would that this had not
+     happened!
+
+          [DANIEL _appears and bows before the_ KING.]
+
+     _King:_ Why hast thou disobeyed my law, Daniel? Wherefore
+     didst thou pray to thy God when thou knewest of my decree?
+
+     _Daniel:_ Great King Darius, my God, the God to whom I pray,
+     is the true God, and I shall worship no other. Do with me
+     what thou wilt.
+
+     _King:_ Daniel, I would that thou hadst not done this thing,
+     for I love thee. Thou art a brave and bold man! Thy God whom
+     thou servest continually, he will deliver thee! [_To the
+     soldiers_]: Take this man from me; cast him into the den of
+     lions.
+
+          [_Soldiers take_ DANIEL _and thrust him into the den.
+          The door is closed, and the_ KING _seals it with his
+          signet. The_ KING _and attendants withdraw. The
+          conspirators are alone._]
+
+     _First Conspirator:_ Daniel has fallen at last! No longer
+     will he be the King's favorite!
+
+     _Fourth Conspirator:_ We, instead, will be the favored ones!
+
+          [_They leave the room in high spirits._]
+
+
+     SCENE III
+
+          PLACE: The same as in scene i.
+
+          CHARACTERS: The same as in scene i.
+
+          TIME: The next morning after the events in scene ii.
+
+          [_The_ KING _hastens to the door of the lions' den._]
+
+     _King_ [_calling eagerly_]: O Daniel, servant of the living
+     God, is thy God, whom thou servest continually, able to
+     deliver thee from the lions?
+
+     _Daniel_ [_from within_]: O King, live forever! My God hath
+     sent his angel and hath shut the lions' mouths, and they
+     have not hurt me, for the Lord knoweth that I have done no
+     wrong, either before him or thee, O King!
+
+     _King_ [_to servants who have followed him into the room_]:
+     Come hither, servants! Quickly bring Daniel out that I may
+     see him!
+
+          [_The door is opened, and_ DANIEL _comes out. The_ KING
+          _shows great joy in greeting him._]
+
+     _King:_ Thy God is truly the living God! Bring forth the men
+     that have done Daniel this wrong. Cast them into the lions'
+     den.
+
+          [_The conspirators are standing in the room, looking
+          at_ DANIEL _in astonishment. The soldiers seize them
+          and push them down into the den. As they go they cry
+          to the_ KING.]
+
+     _Conspirators:_ O King, spare us!
+
+     _King:_ I will now sign a decree that in every dominion of
+     my kingdom men shall bow before the God of Daniel, for he is
+     the only true God. He delivereth and rescueth and worketh
+     great wonders; he hath saved Daniel from the power of the
+     lions.
+
+     _Daniel:_ The Lord God will surely bless thee for this good
+     thing!
+
+     END
+
+
+
+
+CHAPTER X
+
+THE DRAMATIZATION OF NEW TESTAMENT PARABLES
+
+
+Many of the New Testament parables present interesting problems for
+dramatization. The selection should be limited to those which involve
+dramatic situations and unity of structure. The simplicity and
+conciseness of words and actions in many of the parables are qualities
+which call forth a ready and free response from children.
+
+Among the parables which have been worked out by the dramatic club are
+_The Good Samaritan_, _The Wise and Foolish Virgins_, _The Great
+Supper_, _The Talents_, _The Prodigal Son._
+
+In the case of these short parables the story was not told first, but
+the parable was read to the children directly from the Bible. There was
+no discussion as to the truths supposed to be taught, the emphasis
+being placed entirely upon the story element involved. The customs of
+the times and the division of the story into scenes were discussed as
+fully as was done with other stories. Usually one or two meetings were
+all that were necessary for working one of these parables into dramatic
+form. When it was completed, the result was not a finished product, as
+the words and action had been interpreted with slight variations each
+time. The children learned the story by heart, as it is given in the
+Bible. This influenced their words when they were dramatizing.
+
+Several parables were given together at the meeting when parents and
+friends were invited. One child recited the Bible version just before
+the play was given. This feature added interest and dignity to the
+occasion.
+
+The parables were given in the following order:
+
+
+     THE WISE AND FOOLISH VIRGINS
+
+          [_Ten virgins with their lamps are waiting for the
+          bridegroom._]
+
+     _First Virgin:_ The bridegroom tarries; let us rest here
+     awhile.
+
+     _Other Virgins:_ Yea, let us rest.
+
+          [_They all sit down and go to sleep._]
+
+     _A Cry Without:_ Behold, the bridegroom cometh! Go ye out to
+     meet him!
+
+          [_All the virgins get up hurriedly. The five wise ones,
+          with oil in their lamps, stand in readiness. The five
+          foolish ones are in great confusion._]
+
+     _First Foolish Virgin:_ We have no oil! Our lamps are gone
+     out!
+
+     _Second Foolish Virgin_ [_speaking to the five wise
+     virgins_]: Give us of your oil--we have none.
+
+     _First Wise Virgin:_ Not so, lest there be not enough for
+     ourselves and for you. But go ye rather to them that sell,
+     and buy for yourselves.
+
+          [_The foolish virgins hasten away._]
+
+     _A Cry Without:_ Behold, the bridegroom cometh! Go ye out to
+     meet him!
+
+          [_The_ BRIDEGROOM _comes in, followed by a few
+          attendants. He walks by, and the five wise virgins
+          follow him. They go in a door which is closed after
+          them. The foolish virgins come hurriedly back and rush
+          to the door. They beat on it and call out several
+          times._]
+
+     _Foolish Virgins:_ Lord, Lord, open unto us!
+
+          [_The door opens and the_ BRIDEGROOM _stands there._]
+
+     _Bridegroom:_ Depart, I know you not!
+
+     END
+
+During the work on this play the question arose as to the kind of lamps
+that were used at the time of the story. The children looked up
+pictures and descriptions, and from these they made themselves lamps
+out of plasticene or clay. Fig. 8 is a photograph of one of the scenes
+taken out of doors. The lamps can be seen, also the simple costumes
+which the children worked out.
+
+
+     THE GREAT SUPPER
+
+          [_The_ MASTER _of the feast stands in his door and
+          speaks to his servant._]
+
+     _The Master:_ Go, bid my friends come to the supper, for all
+     things are now ready!
+
+          [_The servant bows; the_ MASTER _goes into the house.
+          The servant walks down the street, and as he meets
+          people he delivers his_ MASTER'S _message._]
+
+     _Servant_ [_to the men as they come by_]: My Master bids
+     thee come to his feast, for all things are now ready!
+
+     [Illustration: FIG. 8.--The wise and foolish virgins]
+
+     _First Man:_ Say to thy Master that I have bought a piece of
+     land and must needs go and see it. I pray thee have me
+     excused.
+
+          [_The servant bows and the man passes on. The servant
+          delivers the message to the second man._]
+
+     _Second Man:_ I have bought five yoke of oxen; I must go to
+     prove them. I pray thee have me excused.
+
+     _Third Man:_ I have married a wife, and therefore I cannot
+     come.
+
+          [_The servant goes back to his_ MASTER'S _house; the_
+          MASTER _comes out to meet him._]
+
+     _Servant_ [_falls on his knees before his_ MASTER]: O sir, I
+     did as thou commandedst, but one by one they made excuse,
+     and would not come to thy supper. One man had just bought a
+     piece of land and must go to see it; another had bought five
+     yoke of oxen, and was on his way to prove them; and another
+     had just married a wife. All begged that thou excuse them.
+
+     _Master_ [_shows great anger_]: What! They that are bidden
+     refuse to come to my feast! Go out quickly into the streets
+     and lanes of the city, and bring in hither the maimed, and
+     the halt, and the blind!
+
+          [_The_ MASTER _goes into his house, and the servant
+     again walks down the street._]
+
+     _Servant_ [_as he meets the lame, the halt, and the blind_]:
+     Come! My Master invites you to a great supper, which is now
+     prepared at his house!
+
+          [_Each person, or group of persons, bows and thanks him
+          with such remarks as_]--
+
+     _Maimed, Halt, Blind:_ We thank thee; we will be there. We
+     gladly accept this invitation.
+
+          [_The_ MASTER _stands in the door to receive his guests
+          as they come. When they are all in, the servant comes
+          back to his_ MASTER.]
+
+     _Servant:_ Lord, it is done as thou hast commanded, and yet
+     there is room.
+
+     _Master:_ Go out into the highways and hedges, and compel
+     them to come in, that my house may be filled. For I say unto
+     you that none of those men that were bidden shall taste of
+     my supper!
+
+          [_The servant bows_; _the_ MASTER _goes in._]
+
+     END
+
+
+     THE GOOD SAMARITAN
+
+
+     SCENE I
+
+          PLACE: The road from Jerusalem to Jericho.
+
+          CHARACTERS: A Traveler, Thieves, a Priest, a Levite, a
+          Samaritan.
+
+          [_A man comes along the road carrying his bundle over
+          his back. Many thieves rush out from ambush and attack
+          him. Some knock him down and rob him, while others are
+          looking anxiously up and down the road. After beating
+          and cutting the man they go off, thinking that he is
+          dead._
+
+          _As the traveler lies groaning and begging for water, a
+          priest comes along the road, but when he sees the man he
+          passes by on the other side of the road. Also a Levite
+          comes along, and after looking at the man passes by on
+          the other side of the road._
+
+          _Then a Samaritan comes along, and as soon as he hears
+          the groans he hastens over to the man. He kneels down
+          and looks at him and speaks._]
+
+     _Good Samaritan:_ What is this--a man! Hast thou been hurt,
+     my friend?
+
+     _Man:_ Oh, help me! Thieves fell upon me and took all I had,
+     and have left me here to die.
+
+     [Illustration: FIG. 9.--The Good Samaritan]
+
+     _Good Samaritan:_ I will help thee, my good friend; thy
+     wounds shall be bound. Drink this wine. It may help thee.
+     Art thou able to get on this beast of mine? I will take thee
+     to the inn where thou wilt be cared for. [_He helps the man
+     to rise and supports him as he hobbles off. They both go
+     out._]
+
+
+     SCENE II
+
+          PLACE: The Inn.
+
+          CHARACTERS: The Samaritan, the Traveler, the Innkeeper.
+
+          [_The_ GOOD SAMARITAN _brings the man to the door of
+          the inn and knocks. The_ INNKEEPER, _appears._]
+
+     _Innkeeper:_ Good day, sir.
+
+     _Good Samaritan:_ Here is a wounded man. Take care of him.
+     Here is money, and whatsoever thou spendest more, when I
+     come again I will repay thee. [_He gives the_ INNKEEPER
+     _some money. The_ INNKEEPER _takes the man._]
+
+     _Traveler_ [_to_ GOOD SAMARITAN]: God bless you, my friend!
+
+     END
+
+
+     THE PRODIGAL SON
+
+
+     ACT I
+
+          PLACE: In the father's home.
+
+          CHARACTERS: The Younger Brother, the Father, the Elder
+          Brother, Servants.
+
+          [_The_ FATHER _and_ ELDER SON _come into the room
+          together. The_ YOUNGER SON _comes in from another door._]
+
+     _Younger Son:_ Father, give me the portion of goods that
+     falleth unto me. I am weary of living at home. I will go
+     into some far country and make my fortune.
+
+     _Father:_ My son, why is it that thou desirest this? Hast
+     thou not everything at home?
+
+     _Younger Son:_ Yea, father, but I beg of thee to divide thy
+     living between us. I must have my share.
+
+     _Father:_ Thou art very foolish; nevertheless I will do as
+     thou askest. [_To servant_]: Bring my money bags. [_To_
+     ELDER SON]: And dost thou intend to take thy living also,
+     and leave thy father?
+
+     _Elder Son:_ Nay, father, I am fully content to live with
+     thee; I do not want my portion.
+
+          [_Servant returns with money bags._ FATHER _gives money
+          to his younger son._]
+
+     _Father:_ This is thy share--use it wisely.
+
+     _Younger Son:_ I thank thee, father. I shall become a rich
+     man with this; but now I must leave thee; I can stay here no
+     longer.
+
+     _Father:_ This grieves me, my son, for I know that thou art
+     foolish--but go and learn thy lesson.
+
+          [_He stretches out his hands toward his son as if
+          blessing him._]
+
+     ACT II
+
+
+     SCENE I
+
+          PLACE: Along the roadside in a distant country.
+
+          CHARACTERS: The Prodigal Son, a Farmer.
+
+          [_The_ PRODIGAL SON _comes down the road, tired and
+          hungry. He sits on a rock and talks._]
+
+     _Prodigal Son:_ Would that I had something to eat! My money
+     is all spent, and there is famine in the land. What shall I
+     do? I am sick, and feel that I may soon die. If I could but
+     find something to do that I might get a little food.
+
+          [_A man comes along. The_ PRODIGAL SON _goes toward him
+          and falls down before him._]
+
+     _Prodigal Son:_ O sir, I am starving unto death. Wilt thou
+     give me any task to do that I may make enough to keep me
+     alive?
+
+     _Man:_ I have no work to be done--unless it be to take care
+     of my swine. Thou wilt find them in yon field; they need a
+     keeper.
+
+     _Prodigal Son:_ I will gladly do this.
+
+          [_He goes off joyfully._]
+
+
+     SCENE II
+
+          PLACE: In the field with the swine.
+
+          CHARACTER: The Prodigal Son.
+
+          [_The_ PRODIGAL SON _comes in driving the pigs. He sits
+          down._]
+
+     _Prodigal Son:_ How horrible is this life; I am dying of
+     hunger. No man will give me anything--all I get to eat is
+     the food that I give the pigs. Oh, I wish that I had never
+     left home! How many hired servants of my father's have bread
+     enough and to spare, and I perish with hunger! I will arise
+     and go to my father, and will say unto him, "Father, I have
+     sinned against heaven and before thee, and am no more worthy
+     to be called thy son; make me as one of thy hired servants."
+
+          [_He rises and goes away hurriedly._]
+
+
+     ACT III
+
+
+     SCENE I
+
+          PLACE: In front of the father's home.
+
+          CHARACTERS: The Father, the Prodigal Son, the Servants.
+
+          [_The_ FATHER _stands looking for his son._]
+
+     _Father:_ It seemeth to me that I see my son coming home! I
+     knew that he would come! I will go to meet him! [_He meets
+     him._] It is my son! [_The_ FATHER _shows great joy. The_
+     SON _falls on his knees before his father._]
+
+     _Prodigal Son:_ Father, I have sinned against heaven and
+     before thee, and am no more worthy to be called thy son.
+
+     _Father:_ Bring forth the best robe and put it on him; and
+     put a ring on his hand, and shoes on his feet; and bring
+     hither the fatted calf, and kill it, and let us eat and be
+     merry, for this my son was dead and is alive again; he was
+     lost and is found!
+
+
+     SCENE II
+
+          PLACE: In the field, near the father's house.
+
+          CHARACTERS: Elder Son, Servant, the Father.
+
+          [_The_ ELDER SON _is hoeing in the field. A servant
+          comes out. The_ ELDER SON _calls to him._]
+
+     _Elder Son:_ I hear music and dancing in the house; what do
+     these things mean?
+
+     _Servant:_ Thy brother is come; thy father hath killed the
+     fatted calf, because he hath received him safe and sound.
+     Thy father sendeth for thee to come in. [_The_ ELDER BROTHER
+     _shows anger._]
+
+     _Elder Brother:_ I will not go in. Why should he make merry
+     over my brother who has wasted his living?
+
+          [_The_ FATHER _comes out._]
+
+     _Father:_ My son, wilt thou come unto the feast? Thy lost
+     brother hath returned!
+
+     _Elder Son:_ Lo, these many years do I serve thee; neither
+     have I at any time disobeyed thee, yet thou never gavest me
+     a kid that I might make merry with my friends. But as soon
+     as thy son was come, which hath wasted thy living, thou hast
+     killed for him the fatted calf.
+
+     _Father:_ Son, thou art ever with me, and all that I have is
+     thine. It was meet that we should make merry and be glad,
+     for this thy brother was dead and is alive again; he was
+     lost and is found. Come thou in to greet thy brother!
+
+          [_They both go in._]
+
+     END
+
+
+
+
+CHAPTER XI
+
+THE DRAMATIC QUALITIES IN A GOOD STORY
+
+
+The stories in the Bible, if taken just as they are given, present a
+body of material which is complicated by a historical background and a
+religious symbolism that is remote from the young child's experience.
+They embody the historical incidents as well as the myths and folklore
+of ancient Hebrew life, and for the most part they express the highest
+idealism of the Hebrew people. There is no reason, however, why good
+stories and appropriate incidents may not be given to children from
+this body of material through selecting from and simplifying the
+biblical version. A great deal of what is in the Bible should not be
+used, but there is much that is highly dramatic and becomes valuable
+for dramatization.
+
+It is possible to adapt an incident by simplifying, and in a measure
+reorganizing, the parts, and yet to keep the dignity and integrity of
+the story as it is given in the Bible. The attitude of the children,
+created by contact with this type of story, should be one of reverence
+and dignity, coupled with a consciousness of the high ideals of the
+people they are impersonating.
+
+Before any attempt is made to select parts of the Bible narrative for
+dramatization the leader, or director of the children, should have well
+in mind standards which will help in making the part that is chosen a
+well-organized story. When any good story is analyzed it is found to be
+built upon an underlying basic structure. There is always a beginning
+or setting; a middle part, where the incidents rise to a climax; and an
+end, where the events of the story are satisfactorily worked out. There
+should be a feeling of movement straight through the story; the
+incidents should develop; there should be action that leads to some
+end. A unity must underlie the whole story--there must be no part which
+is not essential to the working out of the plan. The end of the story
+should give a sense of completeness, of satisfaction.
+
+It is often the case that the three essential parts of the story call
+for three acts when the story is dramatized. In some of our modern
+dramas five acts, but in many only three acts, are required in order to
+complete the structure. Sometimes, however, all three parts of a story
+may be given in a one-act dramatization. Before a story is dramatized
+it is very necessary that it be told so clearly that the children are
+conscious of these parts; otherwise the resulting drama will lack in
+organization. No matter how elaborate or simple the story, the children
+should have a feeling for the basic structure, which should guide the
+form of the dramatization.
+
+The leader in charge of a dramatic club in which Bible stories are used
+must take the responsibility of changing the Bible version so as to
+make an organic unit of the story and yet keep the spirit and big
+meaning. There are many parts of the Bible narrative which already
+embody this simple organization--or division into related elements--if
+all of the heavy, unnecessary incidents are omitted.[1]
+
+Although the main purpose of these dramatizations is not that an
+artistic result be secured, yet that is an important factor, and should
+be recognized by both the leader and the children. The product many
+times will be necessarily crude and lacking in the aesthetic element,
+but nevertheless there should be an attempt, even though gradually, to
+train the children toward a recognition and an appreciation of the
+artistic qualities of the literary production they put forth, as well
+as of the stage groupings and effects.
+
+Care must be taken that the stories chosen are ethically sound. The
+story of Jacob is one that may well be omitted. Jacob deceives, and yet
+all the good things in life come to him--he takes them away from those
+who rightfully have earned them. This injustice in the story always
+raises a question in the minds of the children, and for this reason it
+is not a good story. The stories of Samson, Jephthah, Jael, and others
+on this order should be eliminated for similar reasons. They are each
+based upon attitudes toward society and standards of friendship which
+are now outgrown. There are so many simple episodes in the Bible that
+can easily be readjusted into well-constructed stories, about which
+there can be no question of the moral value, that no time need be
+wasted in considering any story about which there is the least
+suggestion of an unethical quality when judged by our present-day
+standards.
+
+FOOTNOTES:
+
+[Footnote 1: As a matter of fact, it is often the later editorial
+additions to the simple old stories that have produced the cumbrous
+effect. When the original story is recovered, it lends itself much
+better to the purpose here discussed. Such a reorganization of the
+stories with a preservation of the biblical language has been made in
+Soares' _Heroes of Israel_ (The University of Chicago Press), where
+also there is much illustrative material interpretative of the
+situations.]
+
+
+
+
+CHAPTER XII
+
+BIBLE STORIES SUITABLE FOR DRAMATIZATION
+
+
+The stories which have been taken for dramatization in the previous
+chapters were not chosen because they are the best ones for that
+purpose, but because they represent different kinds of stories and
+illustrate the opportunity for various methods of presentation. There
+are many other stories and incidents in the Bible which are equal to,
+or better than, those described.
+
+A list of some of these stories is given below, together with a few of
+the most essential points which should be considered in dramatizing
+each. No attempt is made to give the story in full or to elaborate the
+dramatization; the plan for each is merely suggestive.
+
+
+I. SAMUEL
+
+I SAMUEL, CHAPTERS 2 AND 3
+
+The story of Samuel may be worked into a short play of one or two
+scenes. The most interesting and dramatic incident is the familiar one
+of the Voice Calling Samuel at Night. The first part of the story,
+however, is beautiful, and may be used along with this incident.
+
+In scene i Hannah brings little Samuel to the temple and dedicates him
+to the Lord. Eli, the old priest, takes the child to live with him in
+the temple so that he may train him to serve the Lord.
+
+Scene ii takes place several years later. It is night time, and the
+child Samuel is sleeping near the old priest, Eli. He thinks he hears a
+voice calling him, and he runs to Eli to ask what he wants. Eli has not
+called him and tells him to lie down again. Three times he runs to Eli,
+thinking that he hears him calling. Then the priest tells him that it
+must be the Lord who has spoken and tells Samuel what to say the next
+time he is called. Samuel hears the message from the Lord and, upon
+Eli's request, tells him what he has heard. Eli realizes that the Lord
+has spoken truly, and accepts his fate as just. He praises Samuel and
+tells him that he will soon leave the care of the temple and of the
+people of Israel to him.
+
+Neither in this play, nor in any other play, should there be an attempt
+to represent the Lord's voice. The child may listen as if he were
+hearing someone speaking, and from what he says and does the audience
+will be aware of what is happening. For the sake of the result, from an
+artistic point of view, such parts as this should always be left to the
+imagination, no attempt being made to interpret them literally.
+
+
+2. THE QUEEN OF SHEBA'S VISIT TO SOLOMON
+
+I KINGS, CHAPTER 10
+
+The visit of the Queen of Sheba to Solomon furnishes a unit of work for
+a short one-act dramatization. There is no plot or complicated
+situation involved and there is very little activity suggested. The
+attention of the children may well be directed, however, to the
+description of Solomon's court and of the rich gifts which were
+exchanged. This is an excellent opportunity to have the children do
+construction work. They should make many things which will help to give
+the impression of richness to the court. They may also make their own
+costumes richer by adding jewels and bright-colored sashes and
+headdresses.
+
+This little dramatization will include many children. A number will be
+needed to come in with the Queen of Sheba, and there should be many
+attendants upon King Solomon. The conversation will be for the most
+part between Solomon and the Queen, heralds and servants making
+announcements.
+
+The play opens with the Queen of Sheba's arrival at the court of
+Solomon. Messengers announce her to the King. Solomon talks with the
+Queen and she tells him that she admires his great wisdom and his
+wealth. Then Solomon commands that the feast be served, and while they
+eat the Queen presents her gifts to Solomon. When the Queen takes her
+leave Solomon gives her wonderful presents. The play will end with the
+exit of the Queen and her attendants.
+
+Unless the children put much thought upon the stage setting and the
+conversation, this incident may prove uninteresting. It has, however,
+great possibilities for the working out of a beautiful picture.
+
+
+3. JOSHUA AND THE GIBEONITES
+
+JOSHUA, CHAPTER 9
+
+The story of Joshua and the Gibeonites is so simply told in the Bible
+that children of nine or ten years of age can read it as it is given
+and dramatize it directly from that version.
+
+The dramatization of this narrative calls for many characters. The
+older children may take the parts of Joshua and the leaders of the
+Gibeonites, while the younger ones are needed for Israelite soldiers
+and citizens of Gibeon. All the characters in the play will need to do
+much acting even though they do not enter into the conversation.
+
+Although the dramatization should be a product of the children's work,
+yet the leader should have well in mind the three main divisions of the
+story that she may guide the children by her questions. This story may
+be worked into one of the more elaborate productions. The Bible
+language should Be used and the result should be full of dignity and
+spirit. For detail in the method of presentation compare that employed
+in the story of Joseph (chapter iii).
+
+The story may be given so that the following divisions or scenes are
+emphasized:
+
+     SCENE I
+
+          PLACE: At Gibeon. Street scene.
+
+     The inhabitants are discussing the victories of the
+     Israelites. They are afraid of Joshua, the leader.
+     Messengers report that he is advancing toward Gibeon. The
+     Gibeonites plan to make a league with him so that he will
+     not destroy their city. They decide to deceive Joshua by
+     dressing as strangers from a far country, wearing old
+     garments and taking moldy bread and wine.
+
+     SCENE II
+
+          PLACE: Joshua's tent at the camp of Gilgal.
+
+     The men from Gibeon come to Joshua and tell him that they
+     are from a far country. They say that they have heard of his
+     great victories and wish to make a league with him. The
+     conversation between Joshua and these strangers is
+     interestingly given in the Bible and may be quoted almost
+     exactly. Joshua makes the treaty with them.
+
+     SCENE III
+
+          PLACE: At Gibeon.
+
+     The Israelite soldiers rush into Gibeon to take it, but find
+     that the inhabitants are the same ragged strangers with whom
+     they made the league. The Israelites reproach them, but
+     cannot go back on their word, so spare their lives. In
+     order to punish the Gibeonites for their deception, Joshua
+     makes them slaves of the Israelites.
+
+There is much opportunity for construction work in the dramatizing of
+this story. Costumes, pieces of armor, and weapons may be made in a
+simple manner by the children.
+
+
+4. ISAAC AND REBEKAH
+
+GENESIS, CHAPTER 24
+
+The story of Isaac and Rebekah is unusually valuable for dramatization.
+It involves a well-worked-out plot which is beautifully and simply told
+in the Bible, and which brings the children in contact with many
+interesting customs among the shepherd people. The story needs little
+changing; it may be given almost as it is written.
+
+The following outline for the divisions of the story is merely
+suggestive:
+
+     ACT I
+
+     SCENE I
+
+          PLACE: Abraham's tent in Canaan.
+
+     Abraham is lying down in his tent. He is talking to Isaac,
+     his son, about the wife he wishes him to have. He calls a
+     servant and bids him go to Mesopotamia, his old home, and
+     bring a wife for Isaac from his own kinsfolk. Abraham makes
+     the servant swear that he will do as he has been told.
+     Perhaps Abraham has his hand on Isaac while he is talking,
+     and Isaac will take some small part in the conversation.
+
+
+     ACT II
+
+     SCENE I
+
+          PLACE: Mesopotamia.
+
+     The messenger, with his servants, comes to the well just
+     outside of the city walls, where the women draw water. There
+     should be no attempt to represent the camels. These may be
+     indicated by the conversation and left to the imagination.
+     The messenger, through praying to God, decides how he shall
+     know which young woman to choose for Isaac. When Rebekah
+     comes with her pitcher she offers to give water to him and
+     to his camels also. The man is sure then that Rebekah is
+     sent by God, and therefore he arranges to go to her father's
+     house for the night.
+
+This scene should be made very picturesque as well as interesting. The
+children may look up pictures of the wells of those times and then
+construct something that will serve the purpose. Pieces of pottery may
+be brought in on the shoulders of the women to represent water jugs.
+(Compare with the street scene described in the story of Ruth, chapter
+vi.)
+
+
+     SCENE II
+
+          PLACE: Rebekah's home.
+
+     In this scene comes the discussion of Rebekah's leaving home
+     to become the wife of Isaac. The messenger makes known to
+     the family that it is Abraham, their kinsman, who is sending
+     for Rebekah. He gives Rebekah the gifts which his master has
+     sent--earrings, bracelets, and the like. The family finally
+     decide that Rebekah may go back to Canaan, but they ask the
+     servant to let her stay with them for ten days longer. He
+     is unwilling to wait, and the question is therefore put to
+     Rebekah. She answers that she will go with him now.
+
+
+     ACT III
+
+     SCENE I
+
+          PLACE: Canaan. A field near Isaac's home.
+
+     Isaac walks alone in the field at sunset. He is constantly
+     looking into the distance, and he is wondering when the
+     messenger will return with a wife for him. At length he sees
+     the camels approaching and hastens to meet them. This is all
+     indicated by his soliloquy--no camels must be shown. The
+     servant and Rebekah have dismounted and come to meet Isaac.
+     The servant gives Rebekah to Isaac who embraces her and
+     shows his joy at receiving such a beautiful wife. The play
+     should end where Isaac turns toward his father's tent with
+     Rebekah.
+
+While the children are playing this story there should be much detailed
+discussion which will give them an adequate background for
+understanding the customs upon which the story is based; and there
+should be shown many illustrations which will insure correct mental
+pictures.
+
+
+5. ELIJAH AND THE WIDOW'S MEAL
+
+I KINGS, CHAPTER 17
+
+This may be used as a very simple incident of two scenes, or it may be
+elaborated into a longer play.
+
+The first scene is placed by the gate of the city of Zarephath. As
+Elijah comes toward the gate he asks a woman, who is gathering sticks,
+for a drink of water. She gives him the water and he asks for bread.
+The conversation between them brings out the facts that there is famine
+in the land, and that the widow has hardly enough meal left in the
+house to make bread for herself and for her son. She agrees to divide
+with Elijah, however, and takes him into her house. The wording for
+this scene may be taken almost directly as it is given in the Bible.
+
+The second scene is placed in the house of the widow. The woman and her
+son are eating with Elijah. From what they say to each other it is
+apparent that the meal and oil have lasted for many days, and the three
+people have had plenty to eat during the famine. The widow is convinced
+that a miracle has been wrought by her guest. She begs him to tell her
+who he is. The stranger answers that he is Elijah, the prophet of the
+Lord, and that it is through the Lord's care of them that they have had
+food enough. The play may well end here with the final speech from the
+widow as it is given in the Bible: "Now by this I know that thou art a
+man of God, and that the word of the Lord in thy mouth is truth."
+
+In case the part of the story which gives the raising of the widow's
+son is used, a third scene may be added, and the widow's speech would
+come at the end of that scene.
+
+
+6. ELISHA AND THE SHUNAMMITE
+
+II KINGS, CHAPTER 4
+
+This incident is similar to the story of Elijah and the widow's meal,
+and may be dealt with in the same manner. It should be simplified by
+selecting certain parts for dramatization. The emphasis throughout
+falls upon the generous qualities of the two characters--Elisha, ever
+ready to help others, and the woman, who always kept a room for the
+prophet because she admired his goodness.
+
+
+7. DANIEL INTERPRETS THE KING'S DREAM
+
+DANIEL, CHAPTERS 1 AND 2
+
+The stories about Daniel have unusually interesting possibilities for
+dramatization. They need very little explanation. They are so vividly
+and beautifully told in the Bible that the children will understand
+them readily and have no difficulty in interpreting them. A few
+historical facts may be given to make the setting clear. The following
+divisions are suggested for the first story:
+
+     SCENE I
+
+     King Nebuchadnezzar brings four Israelites into his court in
+     order to have them trained as councilors. He appoints them a
+     daily provision of the king's meat and wine.
+
+
+     SCENE II
+
+     The King dreams a dream and forgets it. He calls all of his
+     wise men and demands that they tell him what his dream was
+     and also interpret it. The wise men declare that this is an
+     impossibility and refuse to obey. Nebuchadnezzar is furious
+     and orders that they all be put to death.
+
+     Daniel then comes before the King and asks that the King
+     give him time that he may interpret the dream. The King
+     grants this.
+
+
+     SCENE III
+
+     Daniel appears before the King again. The King asks if he is
+     able to tell what the dream was and to interpret it. Daniel
+     answers that he is able to tell him, not, however, by his
+     own power, but by the power of God in heaven who revealeth
+     secrets. Then Daniel gives in detail the dream and tells
+     King Nebuchadnezzar the meaning thereof. The King is so
+     affected that he falls on his face and worships Daniel. He
+     recognizes the God of Daniel, and commands that Daniel be
+     made governor of Babylon. At Daniel's request he also makes
+     the three other Israelites rulers of certain provinces.
+
+This story may be treated in the same manner as the story of Joseph
+(chapter iii).
+
+
+8. SHADRACH, MESHACH, AND ABED-NEGO IN THE BURNING FIERY FURNACE
+
+DANIEL, CHAPTER 3
+
+This story may be read to children directly from the Bible. After they
+have worked it over several times the final product will include three
+scenes of the following character:
+
+     SCENE I
+
+     The heralds come through the streets crying aloud that King
+     Nebuchadnezzar commands all people to bow down when they
+     shall hear the musical instruments and worship the image of
+     gold which he has set up. Those who do not obey will be put
+     into a burning fiery furnace. The instruments of music sound
+     and all the people fall to the ground to worship except the
+     three Israelites, Shadrach, Meshach, and Abed-nego. Some of
+     the men notice that the Jews do not obey, and go off
+     immediately to tell the King.
+
+
+     SCENE II
+
+     The men come before the King and begin their story by
+     saying, "O King, live forever!" The Bible language may be
+     used directly here in the conversation which follows. The
+     King is very angry at what these men tell him. He orders
+     that the three Jews be brought before him. They are brought
+     in and the King tells them that they will have to be put
+     into the fiery furnace if they do not obey. The Jews are not
+     afraid and reply that their God will take care of them. The
+     King then orders them to be bound and to be taken out to the
+     furnace, which has been heated seven times hotter than
+     usual. Men come running back to the King to tell him that
+     the servants which thrust the Jews into the furnace were
+     burnt up by the heat, but that the Jews were not harmed.
+     Another man runs in and tells the King that a fourth person
+     is in the furnace, and that he resembles the Son of God.
+     Nebuchadnezzar commands that the three men be brought out
+     from the furnace. They come before him, with no mark of the
+     fire on them. The King is so greatly impressed that he makes
+     a decree that no one shall speak against the God of
+     Shadrach, Meshach, and Abed-nego. He then appoints these
+     three men to positions of greater trust than ever before.
+
+
+9. BELSHAZZAR AND THE HANDWRITING ON THE WALL
+
+DANIEL, CHAPTER 5
+
+This story, like the others from Daniel, is so dramatically told in the
+Bible that it may be taken almost exactly as it is given. It should be
+worked into a one-act play. Much attention should be given to the
+setting, and the children may make many things which will give some
+idea of the richness of the banquet hall.
+
+The play opens with the feast of Belshazzar. The people are making
+merry in the midst of all the pomp and luxury of the court. Suddenly
+the handwriting appears on the wall. The King and the people see it and
+are terrified. The children should not attempt to show the handwriting,
+but from the words and actions of the King and the people the audience
+must be made aware of what is happening. None of the wise men present
+is able to interpret the handwriting. The Queen comes before the King
+and begs that he send for Daniel, the Jew. Daniel is brought in, and
+after a little thought gives the interpretation. The scene should end
+with the recognition of Daniel's power. The scarlet robe is placed on
+him and the golden chain is put around his neck, and the King
+proclaims that Daniel shall be the third ruler in the land.
+
+
+10. THE STORY OF JOB
+
+THE BOOK OF JOB
+
+The most majestic piece of literature in the Bible, and one of the
+world's masterpieces, is the Book of Job. The Prologue and Epilogue are
+in the prose epic style, which characterizes the best narrative
+portions of the Bible. The main part of the book is actually dramatic
+in form, and the deep problem of human suffering is discussed in the
+loftiest poetic language. The theme is so profound and the imagery so
+elevated that it is quite beyond the ability of small children.
+High-school students might well present the drama. Many of the speeches
+may be abbreviated, while the Prologue can easily be dramatized. Job
+has been so presented with great success by children of high-school age
+at All Souls' Church, Chicago. It may be noted that the voice of the
+Lord was given in an elevated monotone by a person unseen.
+
+
+11. THE PROPHETS
+
+For the older children many of the Prophets make interesting characters
+for dramatization. The great value of a study of the Prophets lies in
+their appeal as beautiful pieces of literature and expressions of the
+deepest spiritual feeling, rather than in the dramatic situations
+presented. If a study is made of the life of the Prophets, and of the
+times in which they lived, ample material will be discovered which may
+serve as a background for the dramatization of these characters. This
+material is not entirely available from the Bible, but should be
+reinforced by outside references, such as _The Prophets of Israel_ by
+C. H. Cornill, _The Modern Reader's Bible_ by R. G. Moulton, _The
+Hebrew Prophets_ by Chamberlin.
+
+The prophet Amos may be taken as an example of what can be done with
+this material. The Children of Israel are celebrating their autumn
+festival with great joy and abandon. As the mirth is at its highest an
+unknown man makes his way through the crowd. He silences the festivity
+by chanting his dirgelike reproof to the merrymakers. The astonishment
+of the people at this sensational interruption is great. The high
+priest hurries toward him and demands an explanation for this unusual
+disturbance. He orders Amos to cease speaking and to go back to the
+hills and mind his sheep. Amos answers that he is sent by the Lord to
+reprove the people of Israel, and he continues to intone his
+lamentations. The most beautiful and vivid selections for use in
+dramatization are found in chapters 8 and 9. While the final beautiful
+words of the prophecy are regarded as an editorial appendix, there can
+be no impropriety in using them as a dramatic climax. The people may
+then be represented as subdued in spirit, accepting the upbraiding as
+being the word of God.
+
+Isaiah, Jeremiah, and other Prophets may be worked out in like manner.
+The result in each case, however, should insure the utmost dignity and
+beauty; otherwise the dramatization should never be attempted.
+
+The many Prophets with their various messages suggest the possibility
+of their use in a pageant. This form of dramatization may be given to
+advantage by a group of children as a climax to their detailed study of
+the Prophets.
+
+       *       *       *       *       *
+
+From each of the following subjects several dramatizations may be
+taken. They suggest many short one-act plays, and also some excellent
+long ones.
+
+     Saul Chosen and Anointed King of Israel. I Sam., chaps. 9
+     and 10.
+
+     Samuel Anoints David. I Sam., chap. 16.
+
+     David and Jonathan. I Sam., chaps. 18-20.
+
+     David Spares Saul's Life. I Sam., chap. 24.
+
+     Moses Begs Pharaoh to Allow the Children of Israel to Leave
+     Egypt. Exod., chaps. 5-13.
+
+It may be well to state, in connection with the selection of stories
+from the Bible for dramatization, that other stories outside of the
+Bible may be dramatized by these same methods and will accomplish the
+same results. It is not best to allow children to dramatize in
+succession too many of the heavier type of stories, such as the Bible
+stories represent. They may become tired if they work too long at the
+same kind of dramatization. Children need stories which will lighten
+and relieve the extreme seriousness and dignity which they necessarily
+have to express in playing the Bible stories. There is a host of fairy
+tales, folk-tales, and historical incidents that may well be adapted
+for this purpose.
+
+_The Children's Educational Theatre_, by Alice Minnie Herts, describes
+dramatic work with children older than those who made the plays in this
+book. It is an interesting experiment in education which uses
+dramatization as a means for accomplishing certain aims.
+
+
+
+
+CHAPTER XIII
+
+STAGE SETTING AND PROPERTIES
+
+
+The point has been emphasized in the preceding chapters that very
+little stage setting and only a few properties are used in connection
+with these dramatizations. It is always best that as much as possible
+should be left to the imagination, and that only such setting and
+properties be used as the children themselves can construct and as are
+needed to produce the atmosphere of the play. This point of view
+influences any consideration of these matters.
+
+It is frequently true that, after the children have made the articles
+they find a need for, the results are very crude, and there is yet much
+opportunity for free play of the imagination. Great benefit is derived,
+however, through the construction of these objects. The children gain a
+clearer understanding and a keener appreciation of them after they have
+had the experience of trying to express the shape or form through some
+medium, such as clay-modeling, paper-cutting, drawing.
+
+Care should be taken that children make nothing in the nature of stage
+scenery, such as trees, grass, bulrushes, and other bits of landscape.
+The only stage setting which seems at all necessary for them to make
+involves very simple designs which show the characteristic
+ornamentation of the times, for example, the lotus and papyrus designs
+in Pharaoh's court.
+
+Drawings and descriptions of a few of the most essential stage
+properties and settings are given below, with suggestions as to where
+and how each may be used.
+
+_Water jugs and dishes._--In the earlier stages of Hebrew history--as
+is found to be the case with all primitive shepherd people--skins and
+wooden bowls were used for holding water, milk, and food. Clay vessels
+were probably not in general use during the nomadic period. When
+dramatizing the stories of Abraham and Isaac, and others of that
+period, this fact should be taken into account, and only vessels of
+wood and skin should be used.
+
+Most of the clay utensils, which are mentioned in the stories of a
+later time, were shaped like those shown in Fig. 10. Many of the water
+jugs had small handles, though some were without handles. Fig. 11 shows
+the position in which a Hebrew woman usually carried her water jug.
+
+The Hebrews had little interest in the aesthetic except in the realm of
+literature, and the lack is very evident in their pottery. The water
+jugs are far from having the beauty of line and proportion which is
+found in Greek pottery. Whenever any of these vessels are needed for
+use in a dramatization, it is well to have the children bring jars and
+bowls from home which conform as nearly as possible to the shapes here
+given. Earthenware bowls and jars may be used effectively.
+
+[Illustration: FIG. 10.--WATER JUGS, DRINKING BOTTLE, MILK JUG,
+COOKING POT, DISH, WATER JUG]
+
+_Wells._--The importance of wells in the life of the early Hebrews
+cannot be overemphasized. The scarcity of water in the desert made the
+digging of wells a necessity for the survival of people and of flocks.
+As much of the land was rocky, wells could be dug only at certain
+places. These favorable places were the means of determining where the
+tents were to be pitched. In most of the stories of the nomadic life
+wells play a conspicuous part.
+
+[Illustration: FIG. 11.--WOMAN CARRYING WATER JUG]
+
+Children should have correct mental pictures of those ancient wells, so
+that they do not confuse them with the modern wells. The wells of
+Palestine usually had low stone walls around them, and often big flat
+stones for covers. The rocks were piled high enough to keep animals
+from falling in. In some of the wells the water was so low in the
+ground that people had to go down steps on the inside in order to get
+it. In other wells the vessels were let down by means of ropes. The
+women of the land were always required to draw and carry the water.
+
+The simplest way for children to represent a well on the stage is by
+piling up rocks to resemble the outside or by using something that will
+look like a great stone. Fig. 12 shows two kinds of wells in Palestine.
+
+[Illustration: FIG. 12.--ANCIENT WELLS IN PALESTINE]
+
+_Staff and rod._--The shepherd boy always had with him a rod and a
+staff (Fig. 13). The rod was about two and a half feet long and was
+used for protection. The thick knob at the end was cut out of the tree
+from which the limb came, and was frequently covered with knots or
+nails to make it more terrible as a weapon. The children may find
+pieces of wood which will serve the purpose, or if they live near a
+forest they may make their own rods.
+
+The staff was usually about five feet long. The shepherd used it to
+help him climb hills and mountains and also to keep the sheep from
+straying. Some staffs were nothing more than the straight limbs of
+trees; others had a fork or crook at the end so that they could more
+easily catch into the wool of the sheep when they needed guiding.
+Children may use long sticks or branches from trees when they represent
+staffs.
+
+[Illustration: FIG. 13.--SPEARS, SWORDS, STAFF, ROD, ARROWS, BOW]
+
+_Sling._--The sling which was used in David's time was frequently woven
+of rushes, hair, or sinews; sometimes it was made from soft leather.
+From Fig. 14 it will be seen that the shape of the woven part is wider
+in the middle and comes to a point at the end. A string was tied to
+each end and the stone was placed in the wide part. The sling was
+whirled around over the head, and as one string was let loose the stone
+flew out. When the sling is used in a dramatization, the stone may be
+left to the imagination.
+
+[Illustration: FIG. 14.--A SHEPHERD'S SLING, A SIMPLE LOOM--MADE FROM
+CARDBOARD]
+
+Children take great pleasure in trying to weave this sling. A diagram
+of a simple cardboard loom is given in Fig. 14. The shape should be
+drawn on the cardboard, then holes made for the thread which strings up
+the loom. Coarse woolen yarn may be used for the weaving.
+
+_Shepherd bag._--The shepherd bag which was used by David was carried
+by every shepherd boy along with the staff, rod, and sling. It was
+made from a piece of skin with a cord at each end. The cords were
+fastened to the girdle so that the skin formed a kind of bag. Pebbles
+for the sling were carried in it, and often supplies of food. A piece
+of leather or of brown cloth may be easily made into one of these bags
+for the children to use.
+
+_Sickles._--Sickles were of two kinds--those made of metal and those
+made of wood. The wooden ones were toothed with sharp pieces of flint.
+Fig. 15 gives the characteristic shapes.
+
+[Illustration: FIG. 15.--SICKLES]
+
+Children may represent these sickles by cutting the shapes from stiff
+cardboard and coloring them some dark color to make them look as if
+they were wood or metal. Some of the boys may be interested in cutting
+sickles directly out of wood.
+
+_Scepter._--The scepter was used by kings in the later history of the
+Hebrews. It was nothing more than a development of the rod used in the
+shepherd period. As a rod it was a means of protection and power over
+enemies, and as a scepter it was a symbol of the same power. Scepters
+were sometimes short, with much ornamentation; others were long,
+probably five feet in length. They were all characterized by a ball at
+the end, and in many cases the kings had them made from gold, or
+richly ornamented with gold. The Persian kings used the long scepter,
+which therefore is the kind most appropriate for the play of Esther
+(see Fig. 16).
+
+_Tents._--The ancient Hebrew tent was much like the modern Bedouin
+tent. It was low and spread out over the ground, and was made of black
+goat's hair cloth. This cloth was usually stretched over nine poles,
+arranged in rows of three and from six to seven feet in height. The
+inside of the tent was divided into two parts by a long curtain which
+hung across the middle.
+
+[Illustration: FIG. 16.--SCEPTER]
+
+A tent may be represented on the stage by placing a big thick cloth (a
+blanket or canvas or dark curtain) over poles or screens.
+
+_Shields._--There were two kinds of shields found among the Hebrews.
+One was very large and covered a man from head to foot; it was usually
+carried by a shield-bearer. The other was small and was sometimes
+called a buckler. Many different shapes were found in both kinds of
+shields; some were like the Egyptian--long, broad, and straight at the
+bottom; others were round and oblong. All shields were convex with
+handles on the inside to hold them by. The kings had shields covered
+with gold, or decorated with gold and precious stones; but the common
+soldier had a shield of wood or stiff leather. Leather formed the basis
+of the shields that were decorated. Fig. 17 will show drawings of some
+of the typical shapes. Children can easily make shields out of
+cardboard; some may be covered with gold paper or with dark-brown
+paper. A handle may be glued or sewed in the inside so that the shield
+may be held without trouble.
+
+[Illustration: FIG. 17.--SHIELDS, FRONT AND SIDE VIEWS]
+
+_Swords._--The sword was always hung from the left side of the
+sword-belt. It was made from bronze or iron, and was about seventeen
+inches long. Fig. 13 shows some of the usual shapes. Many swords were
+two-edged and had leather sheaths in which they were carried. Children
+may make these out of stiff cardboard, or out of thin wood. They should
+be colored a dark color, and the hilts may be decorated with bright
+colors to represent jewels.
+
+[Illustration: FIG. 18.--TRUMPETS]
+
+_Spears._--Spears averaged about five feet in length. The javelin was a
+long, heavy spear used for casting; the lance was a lighter spear used
+for defense. All spears had a shaft of wood and a metal or stone point.
+Fig. 13 gives several of the characteristic shapes of spear-points.
+Spears may be made by fastening cardboard points to long sticks, or by
+cutting the point directly out of the wood.
+
+_Bows and arrows._--The bows and arrows of the Hebrews were very much
+like those of all other primitive peoples. The bows were often four or
+five feet long and the arrows were pointed with sharp flint or metal.
+Illustrations of the shapes are found in Fig. 13. Children need little
+direction in the making of these weapons, a string and some pliable
+wood being all that is necessary.
+
+_Trumpets._--Fig. 18 illustrates the kinds of trumpets used. The small
+ram's-horn trumpet was associated with the feasts and other public
+celebrations, while the long metal horn was used for the most part by
+the priests. These metal trumpets were frequently made from hammered
+silver. Children can make them out of stiff paper or thin cardboard and
+cover them with silver paper.
+
+[Illustration: FIG. 19.--SIGNET RING]
+
+[Illustration: FIG. 20.--LAMP]
+
+_Signet ring._--A signet ring is something that the kings were never
+without. In the earlier times it was worn on a chain which hung from
+the neck; later it was worn on the finger. Fig. 19 gives a drawing of a
+signet ring. The design was raised so that it left an imprint. The king
+used this imprint as his royal signature instead of signing his name.
+When a signet ring is needed in a dramatization, as is the case in
+_Daniel in the Lions' Den_, any large ring may be used, or the
+children may be interested in making a ring from paper or cardboard.
+
+_Lamps._--Fig. 20 shows one of the simpler types of lamps used at the
+time of Christ. This was probably the kind referred to in the parable
+of the Wise and Foolish Virgins. The lamps were terra cotta and held a
+very little oil. Children will be interested in making these lamps out
+of clay or plasticene. They are almost in the shape of a shallow bowl
+with a handle.
+
+[Illustration: FIG. 21.--EGYPTIAN DESIGN]
+
+_Egyptian design._--In the scenes placed in Pharaoh's court a few
+decorations suggestive of the Egyptian will add interest. Fig. 21 gives
+some of the simpler designs which the children may use for
+ornamentation. The servants may carry the large fan-shaped designs,
+which they make on stiff paper. These designs were made from the lotus
+and the papyrus plants; the leaves were usually a blue-green, and red,
+blue, yellow, white, and black were used in many designs. Fig. 21 shows
+some of these designs that were made by the children and used in
+representing Pharaoh's court.
+
+[Illustration: FIG. 22.--HELMETS, CROWNS, ASSYRIAN, EGYPTIAN, EGYPTIAN]
+
+As it may be of interest to those who have access to a library to know
+where more definite and detailed information may be secured concerning
+the articles that are but briefly described here, the following works
+are recommended: The _New Schaff-Herzog Encyclopedia of Religious
+Knowledge_; Hastings' _Dictionary of the Bible_; the _Jewish
+Encyclopedia_; Kitto, _Cyclopedia of Biblical Literature_; three books
+by W. M. Thomson--_Central Palestine and Phoenicia_, _Southern
+Palestine and Jerusalem_, _Lebanon, Damascus, and beyond Jordan_;
+Elmendorf, _A Camera Crusade through the Holy Land._
+
+
+
+
+CHAPTER XIV
+
+COSTUMING
+
+
+The question of costuming may be dealt with in much the same manner as
+that of stage setting and properties. Costumes are unnecessary in many
+of the simpler plays, and even where they are used they should be so
+treated that they are of minor importance in the minds of the children.
+It is nearly always the case that the very smallest suggestion of a
+costume--a sash or a cloth around the head--is satisfying and
+sufficient to produce the proper atmosphere of the play. There is
+danger of placing so much emphasis upon this phase of the work that the
+children attach undue importance to it and thus lose the real spirit of
+the dramatization.
+
+If costumes are used they should not be saved for the final
+performance, but the children should have the pleasure of wearing them
+at each practice where they are actually living over and over the lives
+of other people. Children should get their ideas of the dress of the
+times from pictures and descriptions and then in very simple ways try
+to represent what they have observed. The simplicity of the costumes
+among the Hebrew people makes the problem comparatively simple.
+
+[Illustration: FIG. 23.--A group of children, showing costumes and a
+trumpet]
+
+There is very little definite knowledge about the exact costume of the
+ancient Israelites, for they have left no records. The only sources of
+information on the subject are the few references to dress in the Old
+Testament and the few Jewish figures found among the Egyptian,
+Assyro-Babylonian, and Persian carvings. The conclusion has been
+reached, however, that the ancient Hebrew costume was in general
+similar to that of the modern Arab.
+
+It is fairly certain that among the earliest tribes a simple slip or
+short tunic, with close-fitting sleeves, was worn. Later a big loose
+mantle was usually thrown over this slip. The little under-garment was
+white, woven from wool, or sometimes made out of skins; the outer
+garment was frequently striped, a bright color with white. Among the
+old patriarchs the outside cloak reached to the ground. It was often in
+the shape of a blanket, and was draped by throwing one end over the
+left shoulder, then passing it across the front of the body and under
+the right arm, then across the back, and to the left shoulder again.
+
+At a still later period there was the long gown, which reached to the
+ankles and was belted in at the waist by a girdle. This was sometimes
+covered by an outside robe which was like a cape. Frequently these
+garments were brought over the heads in order to protect their wearers
+from the sun.
+
+As a rule the servants and lower class of people wore only the one
+garment--a short tunic, with or without a girdle. The richer men wore
+the outside cloaks. Kings and nobles had many kinds of cloaks which
+were very elaborately decorated. They had silk girdles, while the
+poorer men wore leather girdles. See Figs. 23-27 for costumes made by
+the children.
+
+[Illustration: FIG. 24.--The costume of Abraham]
+
+The women's dress was very much the same as that worn by the men. All
+garments may have been a little longer, but the draping and the kinds
+of garments were the same. Great ladies had beautiful veils and shawls.
+
+[Illustration: FIG. 25.--Two kinds of costumes--the Rich Shepherd and
+the Servant.]
+
+Both men and women wore sandals. The soles were made of leather or
+thick woven cords. They were fastened to the feet by means of strings
+of leather, linen, or of papyrus. Two straps were usually attached to
+the back of the sandal, then crossing from the back over the instep
+they were tied to a third strap which was fastened at the front and
+came between the great and second toe. Fig. 26 shows sandals which were
+made by the children.
+
+[Illustration: FIG. 26.--Costumes, showing sandals made by the
+children]
+
+The headdress in the earlier days was nothing more than a piece of
+square cloth, folded diagonally and placed over the head with the long
+point at the back; the two ends were then crossed under the chin and
+thrown back over the shoulders. A cord was tied around the head to keep
+the cloth on. Later a kind of turban was worn which had no loose ends,
+but which projected over the face enough to protect one from the sun.
+Figs. 23-25 give examples of different kinds of headdress made by the
+children.
+
+[Illustration: FIG. 27.--Costumes]
+
+The crowns which the kings wore were frequently of gold, studded with
+jewels, although the Persian king had a stiff cap of felt or cloth,
+encircled by a blue and white band. Fig. 22 gives a few of the typical
+shapes for crowns.
+
+The helmets which were worn by the soldiers were varied. The shapes
+employed by the Assyrians and the Egyptians were probably used among
+the Hebrews. See Fig. 22 for drawings of some of the best-known
+helmets. Children may make these easily by using cardboard and gilt
+paper.
+
+The Hebrew men and women had many personal ornaments, such as
+necklaces, armlets, bracelets, rings. Children delight in making all
+kinds of bracelets and chains from gold and silver paper. They may
+bring all the bright-colored beads that they can get for the enrichment
+of the costume.
+
+
+
+
+CHAPTER XV
+
+THE ORGANIZATION OF A CHURCH DRAMATIC CLUB
+
+
+The kind of dramatics described in this book may be undertaken with
+success in connection with any Sunday school. The most necessary
+element is a leader in charge who is wide awake to the aims and
+purposes of such work and who has the ability to deal with little
+children. A trained teacher is preferable.
+
+This dramatization can be most effectively presented to children
+between the ages of six and thirteen. In case the Sunday school is very
+large and more children join than can be easily managed by one leader,
+it would be best to divide the members into two or three smaller
+groups, each with a competent leader in charge. One person should be
+able to handle well from twenty to twenty-five children.[2]
+
+This training ought not to stop with younger children, but may well be
+carried on with pupils of high-school age. This would involve problems
+slightly different from those here presented, but on the whole the
+same aims may be achieved.
+
+It is sometimes the case that a few of the children outgrow the club.
+They begin to realize that they are much larger than the others, and
+they decide that they do not care to take part in the acting, yet they
+are still interested enough to come to the meetings. If there is no
+other dramatic club into which they may go, then they may be used as
+assistants in the younger club and made to feel that they are a
+necessary part of it. There are many ways in which they can be of
+valuable help to the leader, at the same time experiencing a
+development through the training.
+
+During one year in the history of the dramatic club here described
+three girls of fourteen came regularly to the meetings. They could not
+be persuaded to take part in the dramatizations, but they expressed an
+eagerness to help in the direction. They entered into the discussion
+and criticism of the plays that were being acted each Sunday, and their
+suggestions were always very much to the point. They had the ability of
+explaining what they meant to the children so that it was easily
+understood. These girls would write out the scenes, sometimes while the
+children were actually giving them; or, again, they would write them at
+home and bring them for discussion at the next meeting. They took
+entire charge of the costuming, and would meet outside at sewing-bees,
+where they mended, pieced, or made over the costumes on hand. Then at
+the plays they always took the responsibility of dressing the little
+children, putting on their headdresses, tying their sashes, and seeing
+that their costumes were draped in the right way.
+
+When a dramatic club is first started, it is advisable to dignify the
+organization by electing a president and secretary from among the
+children. The president may take charge of the meetings and then turn
+them over to the director, and may help in many ways to keep the club
+together. The secretary may call the roll and be responsible for
+sending notices to the members. Children always delight in this amount
+of formality, and through it each one becomes a much more vital part of
+the group; the responsibility as far as possible is placed upon the
+children, and they usually rise to meet it.
+
+It is hardly practical in most cases to attempt to hold more than one
+meeting a week. The time should be set according to the convenience of
+the majority of the members. Sunday afternoon was found to be the best
+time for this little club to meet, but any week day will do as well.
+Occasionally, just before a play is to be given, a few call meetings
+may be necessary.
+
+It is desirable that the club own the simple costumes which the members
+wear. A costume box is a convenient place for keeping them. The same
+garments may be used over and over again, and should be kept where they
+may be easily obtained at each meeting. The older girls in the group
+will be glad to take charge of the costume box, and they should see
+that all of the garments are kept in order. The supply of costumes will
+grow, for children will be constantly bringing new things to add to it.
+
+There are various methods of getting a number of costumes on hand. The
+children may bring from home old sheets and bright-colored shawls and
+ribbons, which may be used to advantage. Often the Sunday school will
+appropriate a small sum in order to help buy materials. A very small
+amount of money need be spent, for the costumes must be extremely
+simple and they should be planned and made by the children.
+
+The construction work which the children do in connection with the
+dramatization is an important part in the working out of a play. As
+already noted, the greatest value of it lies in the fact that it
+represents the efforts of the children. There is hardly time at one of
+the regular meetings to have the construction work done. A discussion
+of the articles needed may be necessary, after which the children
+should be encouraged to make them at home. The older ones are able to
+look up pictures and descriptions which will help, while the younger
+ones need to have the matter frequently talked over in order to give
+them the correct mental pictures of what they are to make. It is always
+surprising to see how readily children take hold of this kind of work.
+They bring in very many interesting things which they have made--often
+things which they have thought out for themselves and which they had
+not been asked to make. There are times when all the members are
+working on the same problem, such as lamps for the Wise and Foolish
+Virgins. It may be best under these circumstances to have a meeting
+outside where they all work together. (Descriptions of these
+constructed articles may be found in a previous chapter.)
+
+A word of warning may be in place at this point. Parents of the
+children are usually anxious and eager to help in making costumes and
+the constructed objects. The very best aid that they can give is to see
+that the children have the opportunity for making these things
+themselves; they may encourage and guide wisely, but the finished
+product must be the child's, not the mother's. Some mothers have
+thought that they were doing the right thing to have a carpenter make
+the spears and other weapons for the soldier. The boy derives more
+benefit if he looks around for some sticks which will serve his
+purpose, no matter how crude they may be.
+
+The order in which plays are given in this book should not be taken as
+the proper sequence for a dramatic club. The story of _Joseph_ is
+described in detail first because the method used there may be followed
+with any of the shorter or longer stories. This particular story,
+however, should not be the first one presented to children who have
+never had such work before. Such stories as _David and Goliath_,
+_Abraham and the Three Guests_, or any of the parables should come
+first. _Joseph_, _Ruth_, and _Esther_ are well worked out by children
+after they have had a little experience with dramatization.
+
+As a final summary, let it be ever kept in mind that this dramatization
+functions as a factor in religious education only when the highest
+development of the children is the aim. It should be so conducted that
+it forms an essential part of the religious training of the Sunday
+school, and also one of the valuable activities of the church.
+
+FOOTNOTES:
+
+[Footnote 2: In church schools which are organizing on the most
+approved methods of the correlation of all educational activities the
+dramatic club may be a regular part of the junior department, similar
+clubs being integral parts of the other departments.]
+
+
+
+
+INDEX
+
+
+
+
+INDEX
+
+
+Aaron, 55
+
+_Abraham_, the dramatization of, 84-92, 118
+
+Ahasuerus, king of Media and Persia, 70-83
+
+Aims of dramatization, 5, 9-10
+
+Amos, the prophet, 127
+
+Angels, 85, 90
+
+Armor and weapons, 50, 138-140, 151
+
+
+Bag, shepherd, 136
+
+Banquet, Queen Esther's, 69, 80
+
+Belshazzar, 125
+
+Boaz, 64-66
+
+Bow and arrow, 140
+
+
+Cardboard, use of, 45, 60, 151
+
+Citizens of Bethlehem, 65
+
+Clay, use of, 100, 131, 142
+
+Cloak, outer garment, 146
+
+Conspirators, 94-97
+
+Construction work, 45, 60, 130-143
+
+Costumes, 45;
+  the making of, 144-151;
+  the method of obtaining, 155
+
+Crowns, 150
+
+
+_Daniel_, the dramatization of, 93-97, 122, 125
+
+Darius, 93-95
+
+_David_, 44;
+  the dramatization of, 46-51, 128
+
+Design, Egyptian, 142
+
+Diagram of loom, 45, 136
+
+Dishes, 131
+
+
+Education, religious, 6-8, 157
+
+Elijah, 120-121
+
+Elisha, 122
+
+_Esther_, the dramatization of, 68-83
+
+
+Feast, 80, 115-116
+
+Fiery furnace, 123-124
+
+
+Gibeonites, 116-117
+
+Girdle, 146
+
+Gleaners, 63
+
+Goliath, 44, 48, 51
+
+
+Haman, 71-74
+
+Harvest, 59, 61
+
+Headdress, 69, 144, 150
+
+Helmet, 143, 151
+
+
+Innkeeper, 105
+
+Isaac, 118-120
+
+Isaiah, 128
+
+
+Jacob, 18, 112
+
+Jael, 112
+
+Jephthah, 112
+
+Jeremiah, 128
+
+Jericho, 103
+
+Jerusalem, 103
+
+Job, 126
+
+Jonathan, 128
+
+_Joseph_, the story of, 17-25;
+  the dramatization of, 34-43
+
+Joshua, 116
+
+
+Lamps, 99-100, 142
+
+Lions, den of, 93, 96-97
+
+Loom, 45, 136
+
+
+Method of presenting dramatization, formal, 9;
+  informal, 10-16
+
+Miriam, 55
+
+Moab, the land of, 63
+
+Mordecai, 72-74
+
+_Moses_, the dramatization of, 52-56, 128
+
+
+Naomi, 62-63, 66-67
+
+Nebuchadnezzar, 122-123
+
+
+Organization, of dramatic club, 7, 8, 152-157;
+  of stories, 110-111
+
+Ornaments, personal, 151
+
+
+Papyrus, 142, 149
+
+Parables, the dramatization of, 98-108
+
+Performance, public, 14, 33, 90
+
+Pharaoh, 21, 39, 54, 57-58
+
+Pharaoh's daughter, 55-58
+
+Pictures, the use of, 45, 84
+
+Plasticene, 100, 142
+
+President of the club, 154
+
+_Prodigal Son, The_, dramatization of, 105-108
+
+Prophets, the, 126-127
+
+
+Queen of Sheba, 115-116
+
+
+Reapers, 63-64
+
+Rebekah, 118-120
+
+Ring, signet, 141
+
+_Ruth_, the dramatization of, 59-67
+
+
+_Samaritan, The Good_, the dramatization of, 103-104
+
+Samson, 112
+
+Samuel, 113-114, 128
+
+Sandals, 62, 148-149
+
+Sarah, 85
+
+Saul, 48, 128
+
+Scepter, 69, 78, 137
+
+Secretary of the club, 154
+
+Servant, 100, 108
+
+Shepherd customs, 84
+
+Shield, 45, 138
+
+Sickles, 60, 137
+
+Sling, 45, 51, 135-136
+
+Soldier, 49, 96
+
+Solomon, 115-116
+
+Spears, 45, 140
+
+Staff, 45, 134
+
+Stage setting, 84, 130
+
+Supper, The Great, 100
+
+Swords, 45, 139
+
+
+Tents, 84, 138
+
+Trumpets, 141
+
+Tunic, 146-147
+
+Turban, 150
+
+
+_Virgins, The Wise and Foolish_, the dramatization of, 99-100
+
+
+Water jugs, 131-132
+
+Wells, 133
+
+PRINTED IN THE U.S.A.
+
+
+
+
+PRINCIPLES AND METHODS OF RELIGIOUS EDUCATION
+
+_Edited by_ W. C. BOWER, EDWIN E. AUBREY, and W. C. GRAHAM
+
+
+_A Survey of Religious Education in the Local Church._ By William C.
+Bower.
+
+_The Junior: Life-Situations of Children Nine to Eleven Years of Age._
+(Revised edition, 1932.) By Ernest J. Chave.
+
+_Out of Doors with Youth._ By J. W. F. Davies.
+
+_The Sunday-School Building and Its Equipment._ By Herbert F. Evans.
+
+_Recreation and the Church._ By Herbert W. Gates.
+
+_Character Building through Recreation._ By Kenneth L. Heaton.
+
+_Graded Social Service for the Sunday School._ By William N. Hutchins.
+
+_A Summer Program for the Church School._ By Miles H. Krumbine.
+
+_World-Friendship through the Church School._ By John Leslie Lobingier.
+
+_Projects in World-Friendship._ By John Leslie Lobingier.
+
+_The Dramatization of Bible Stories._ By Elizabeth Erwin Miller
+(Elizabeth Miller Lobingier).
+
+_Dramatization in the Church School._ By Elizabeth Erwin Miller
+(Elizabeth Miller Lobingier).
+
+_Far Peoples._ By Grace D. Phillips.
+
+_Church School Projects._ By Erwin L. Shaver.
+
+_The Project Principle in Religious Education._ By Erwin L. Shaver.
+
+_A Project Curriculum for Young People._ By Erwin L. Shaver.
+
+_Handwork in Religious Education._ By Addie Grace Wardle.
+
+
+THE UNIVERSITY OF CHICAGO PRESS
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Made minor punctuation and formatting changes, e.g., indentations.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dramatization of Bible Stories, by 
+Elizabeth Erwin Miller Lobingier
+
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+<pre>
+
+The Project Gutenberg EBook of The Dramatization of Bible Stories, by 
+Elizabeth Erwin Miller Lobingier
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: The Dramatization of Bible Stories
+       An experiment in the religious education of children
+
+Author: Elizabeth Erwin Miller Lobingier
+
+Release Date: March 1, 2012 [EBook #39022]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMATIZATION OF BIBLE STORIES ***
+
+
+
+
+Produced by Curtis Weyant, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<h1>THE DRAMATIZATION OF<br />
+BIBLE STORIES</h1>
+<hr class="tb" />
+
+
+
+<p class="center">
+THE UNIVERSITY OF CHICAGO PRESS<br />
+CHICAGO, ILLINOIS<br />
+<br />
+<small>THE BAKER &amp; TAYLOR COMPANY<br />
+NEW YORK<br />
+<br />
+THE CAMBRIDGE UNIVERSITY PRESS<br />
+LONDON<br />
+<br />
+THE MARUZEN-KABUSHIKI-KAISHA<br />
+TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI<br />
+</small></p>
+<hr class="tb" />
+
+<div class="figcenter" style="width: 382px;">
+<a name="frontispiece" id="frontispiece"></a>
+<img src="images/i_004.jpg" width="382" height="600" alt="A SHEPHERD" title="A SHEPHERD"/>
+<span class="caption">A SHEPHERD</span>
+</div>
+<hr class="chap" />
+
+
+
+<h1>
+THE DRAMATIZATION<br />
+OF BIBLE STORIES<br />
+<br /></h1>
+<p class="title">
+AN EXPERIMENT IN THE RELIGIOUS<br />
+EDUCATION OF CHILDREN<br />
+<br />
+<i>By</i><br />
+<br />
+<span class="smcap">Elizabeth Erwin Miller</span><br />
+<br />
+(<i>Elizabeth Miller Lobingier</i>)<br />
+<br /></p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/i_005.png" width="100" height="132" alt=""/>
+</div>
+
+<p class="title">THE UNIVERSITY OF CHICAGO PRESS<br />
+CHICAGO, ILLINOIS<br />
+</p>
+<hr class="chap" />
+
+
+
+<p class="center"><small>
+COPYRIGHT 1918 BY THE UNIVERSITY OF CHICAGO<br />
+ALL RIGHTS RESERVED. PUBLISHED APRIL 1918<br />
+SIXTEENTH IMPRESSION OCTOBER 1934</small></p>
+<hr class="r5" />
+<p class="center"><small>
+COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO PRESS<br />
+CHICAGO, ILLINOIS, U.S.A.</small>
+</p>
+<hr class="tb" />
+
+
+
+<p class="center">
+TO MY LITTLE FRIENDS, THE CHILDREN IN THE<br />
+DRAMATIC CLUB OF THE HYDE PARK CHURCH OF DISCIPLES,<br />
+THIS BOOK IS LOVINGLY DEDICATED<br />
+</p>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2><a name="GENERAL_PREFACE" id="GENERAL_PREFACE"></a>GENERAL PREFACE</h2>
+
+
+<p>The progress in religious education in the last few
+years has been highly encouraging. The subject
+has attained something of a status as a scientific
+study, and significant investigative and experimental
+work has been done. More than that, trained
+men and women in increasing numbers have been
+devoting themselves to the endeavor to work out
+in churches and Sunday schools the practical problems
+of organization and method.</p>
+
+<p>It would seem that the time has come to present
+to the large body of workers in the field
+of religious education some of the results of the
+studies and practice of those who have attained
+a measure of educational success. With this end
+in view the present series of books on "Principles
+and Methods of Religious Education" has been
+undertaken.</p>
+
+<p>It is intended that these books, while thoroughly
+scientific in character, shall be at the same time
+popular in presentation, so that they may be available
+to Sunday-school and church workers everywhere.
+The endeavor is definitely made to take
+into account the small school with meager equipment,
+as well as to hold before the larger schools
+the ideals of equipment and training.</p><p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p>
+
+<p>The series is planned to meet as far as possible all
+the problems that arise in the conduct of the educational
+work of the church. While the Sunday
+school, therefore, is considered as the basal organization
+for this purpose, the wider educational work
+of the pastor himself and that of the various other
+church organizations receive due consideration as
+parts of a unified system of education in morals
+and religion.</p>
+
+<p class="author">The Editors</p>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="toc">
+<tr><td align="right">&nbsp;</td><td align="left">&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">List of Illustrations</span></td><td align="right"><a href="#Page_xiii">xiii</a></td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Introduction by Edward Scribner Ames</span></td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td align="right"><small>CHAPTER</small></td><td align="left">&nbsp;</td><td align="right">&nbsp;</td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Educational Aims in Dramatization</span></td><td align="right"><a href="#Page_5">5</a></td></tr>
+<tr><td align="right">II.</td><td align="left"> <span class="smcap">The Method of Dramatization</span></td><td align="right"><a href="#Page_9">9</a></td></tr>
+<tr><td align="right">III.</td><td align="left"> <span class="smcap">The Dramatization of "Joseph"</span></td><td align="right"><a href="#Page_17">17</a></td></tr>
+<tr><td align="right">IV.</td><td align="left"> <span class="smcap">The Dramatization of "David and Goliath"</span></td><td align="right"><a href="#Page_44">44</a></td></tr>
+<tr><td align="right">V.</td><td align="left"> <span class="smcap">The Dramatization of "Moses in the Bulrushes"</span></td> <td align="right"><a href="#Page_52">52</a></td></tr>
+<tr><td align="right">VI.</td><td align="left"> <span class="smcap">The Dramatization of "Ruth"</span></td><td align="right"><a href="#Page_59">59</a></td></tr>
+<tr><td align="right">VII.</td><td align="left"> <span class="smcap">The Dramatization of "Queen Esther"</span></td><td align="right"><a href="#Page_68">68</a></td></tr>
+<tr><td align="right">VIII.</td><td align="left"> <span class="smcap">The Dramatization of "Abraham and the Three Guests"</span></td><td align="right"><a href="#Page_84">84</a></td></tr>
+<tr><td align="right">IX.</td><td align="left"> <span class="smcap">The Dramatization of "Daniel in the Lions' Den"</span></td><td align="right"><a href="#Page_93">93</a></td></tr>
+<tr><td align="right">X.</td><td align="left"> <span class="smcap">The Dramatization of New Testament Parables</span></td><td align="right"><a href="#Page_98">98</a></td></tr>
+<tr><td align="right">XI.</td><td align="left"> <span class="smcap">The Dramatic Qualities in a Good Story</span></td><td align="right"><a href="#Page_109">109</a></td></tr>
+<tr><td align="right">XII.</td><td align="left"> <span class="smcap">Bible Stories Suitable for Dramatization</span></td><td align="right"><a href="#Page_113">113</a></td></tr>
+<tr><td align="right">XIII.</td><td align="left"> <span class="smcap">Stage Setting and Properties</span></td><td align="right"><a href="#Page_130">130</a></td></tr>
+<tr><td align="right">XIV.</td><td align="left"> <span class="smcap">Costuming</span></td><td align="right"><a href="#Page_144">144</a></td></tr>
+<tr><td align="right">XV.</td><td align="left"> <span class="smcap">The Organization of a Church Dramatic Club</span></td><td align="right"><a href="#Page_152">152</a></td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Index</span></td><td align="right"><a href="#Page_161">161</a></td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p>
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="loi">
+<tr><td align="left" colspan="2"><span class="smcap">A Shepherd</span></td><td align="right"><a href="#frontispiece">Frontispiece</a></td></tr>
+<tr><td align="left" colspan="2"><small>FIGURE</small></td><td align="right"><small>PAGE</small></td></tr>
+<tr><td align="right">1.</td><td align="left"> <span class="smcap">Pharaoh's Court</span></td><td align="right"><a href="#fig1">42</a></td></tr>
+<tr><td align="right">2.</td><td align="left"> <span class="smcap">A Scene From David and Goliath</span></td><td align="right"><a href="#fig2">47</a></td></tr>
+<tr><td align="right">3.</td><td align="left"> <span class="smcap">Esther and Mordecai</span></td><td align="right"><a href="#fig3">73</a></td></tr>
+<tr><td align="right">4.</td><td align="left"> <span class="smcap">Esther Dances before the King</span></td><td align="right"><a href="#fig4">75</a></td></tr>
+<tr><td align="right">5.</td><td align="left"> <span class="smcap">The King Holds Out the Scepter to Esther</span></td><td align="right"><a href="#fig5">79</a></td></tr>
+<tr><td align="right">6.</td><td align="left"> <span class="smcap">Queen Esther Pleads for Her People</span></td><td align="right"><a href="#fig6">81</a></td></tr>
+<tr><td align="right">7.</td><td align="left"> <span class="smcap">The Three Guests Bless Abraham and Sarah</span></td><td align="right"><a href="#fig7">88</a></td></tr>
+<tr><td align="right">8.</td><td align="left"> <span class="smcap">The Wise and Foolish Virgins</span></td><td align="right"><a href="#fig8">101</a></td></tr>
+<tr><td align="right">9.</td><td align="left"> <span class="smcap">The Good Samaritan</span></td><td align="right"><a href="#fig9">104</a></td></tr>
+<tr><td align="right">10.</td><td align="left"> <span class="smcap">Water Jugs and Other Clay Utensils</span></td><td align="right"><a href="#fig10">132</a></td></tr>
+<tr><td align="right">11.</td><td align="left"> <span class="smcap">Woman Carrying Water Jug</span></td><td align="right"><a href="#fig11">133</a></td></tr>
+<tr><td align="right">12.</td><td align="left"> <span class="smcap">Ancient Wells in Palestine</span></td><td align="right"><a href="#fig12">134</a></td></tr>
+<tr><td align="right">13.</td><td align="left"> <span class="smcap">Ancient Weapons</span></td><td align="right"><a href="#fig13">135</a></td></tr>
+<tr><td align="right">14.</td><td align="left"> <span class="smcap">A Shepherd's Sling and Loom for Weaving Sling</span></td><td align="right"><a href="#fig14">136</a></td></tr>
+<tr><td align="right">15.</td><td align="left"> <span class="smcap">Sickles</span></td><td align="right"><a href="#fig15">137</a></td></tr>
+<tr><td align="right">16.</td><td align="left"> <span class="smcap">Scepter</span></td><td align="right"><a href="#fig16">138</a></td></tr>
+<tr><td align="right">17.</td><td align="left"> <span class="smcap">Shields</span></td><td align="right"><a href="#fig17">139</a></td></tr>
+<tr><td align="right">18.</td><td align="left"> <span class="smcap">Trumpets</span></td><td align="right"><a href="#fig18">140</a></td></tr>
+<tr><td align="right">19.</td><td align="left"> <span class="smcap">Signet Ring</span></td><td align="right"><a href="#fig19">141</a></td></tr>
+<tr><td align="right">20.</td><td align="left"> <span class="smcap">Lamp</span></td><td align="right"><a href="#fig20">141</a></td></tr>
+<tr><td align="right">21.</td><td align="left"> <span class="smcap">Egyptian Designs</span></td><td align="right"><a href="#fig21">142</a></td></tr>
+<tr><td align="right">22.</td><td align="left"> <span class="smcap">Helmets and Crowns</span></td><td align="right"><a href="#fig22">143</a><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span></td></tr>
+<tr><td align="right">23.</td><td align="left"> <span class="smcap">A Group of Children, Showing Costumes and a Trumpet</span></td><td align="right"><a href="#fig23">145</a></td></tr>
+<tr><td align="right">24.</td><td align="left"> <span class="smcap">The Costume of Abraham</span></td><td align="right"><a href="#fig24">147</a></td></tr>
+<tr><td align="right">25.</td><td align="left"> <span class="smcap">Two Kinds of Costumes&mdash;the Rich Shepherd and the Servant</span></td><td align="right"><a href="#fig25">148</a></td></tr>
+<tr><td align="right">26.</td><td align="left"> <span class="smcap">Costumes Showing Sandals Made by the Children</span></td><td align="right"><a href="#fig26">149</a></td></tr>
+<tr><td align="right">27.</td><td align="left"><span class="smcap">Costumes</span></td><td align="right"><a href="#fig27">150</a></td></tr>
+</table></div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2>
+
+<p class="center"><span class="smcap">By Edward Scribner Ames</span></p>
+
+
+<p>This book is its own best commendation, for it
+is a most convincing record of an important experiment
+in education. It is the more interesting
+because it is a real contribution to educational
+method from the field of religious education, which
+too often only appropriates and imitates what has
+been achieved elsewhere.</p>
+
+<p>This experiment is founded upon the powerful
+dramatic impulse of children and upon the educative
+value of the natural expression of that impulse
+under the mutual self-criticism of the participating
+group. The function of the leader has been that
+of an unobtrusive member of the group contributing
+such suggestions from a wider experience and
+deeper insight as would naturally elicit and guide
+that criticism. That this fine art of teaching has
+been realized with unusual skill in this experiment
+will be apparent to the discerning readers of this
+record, as it has been by those who have watched
+the progress of the work itself.</p>
+
+<p>Too much emphasis cannot be given to the fact
+that the primary aim of this use of dramatization
+is the education of the children and not the<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span>
+entertainment of spectators, although, when such
+dramatization is rightly estimated, nothing could
+be more genuinely entertaining. Those who are
+expecting to find here ready-made plays for children,
+with directions for staging them, will be
+properly disappointed, while those who are seeking
+illustrations of vital methods of education through
+the cultivation and use of the dramatic impulse
+will be amply rewarded.</p>
+
+<p>The latter will appreciate the frank portrayal
+of the early and cruder efforts of the children and
+their own critical reactions due to further reflection
+and experimentation. These will understand
+something of the ability and patience that Miss
+Miller has employed in allowing the native impulse
+to develop naturally and to mature through the
+reactions of the children themselves. They will
+realize that the little people actually formulated
+the scenes and the lines of the dramas even if it
+required many weeks in some cases to do so; that
+it is better for the actors to make their own costumes
+and stage properties, however simple they
+may be; that it is more educative for each child
+to be familiar with all of the parts, and thus with
+the drama as a whole, than to be coached ever so
+cleverly to impersonate a single character; and
+that facility and power in dramatization are thus
+attained which are permanent sources of pleasure
+and understanding.</p><p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<p>It need scarcely be added that the biblical stories
+are exceptionally well suited to such use and that
+when so employed they yield their profound
+religious quality directly in deep and lasting impressions.
+The children who have been so fortunate
+as to belong to this dramatic club not only "know"
+these stories, but they have lived them in an intimate
+and durable experience.</p>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br /><br />
+
+EDUCATIONAL AIMS IN DRAMATIZATION</h2>
+
+
+<p>Dramatization is not commonly recognized as
+a means of vitalizing the religious education of
+children. The public school has found it to be
+one of the most effective methods for enriching the
+pupil's ideas of given units of subject-matter and
+for leading to the establishment of permanent
+interests and of habitual modes of action.</p>
+
+<p>The use of dramatization in the school in order to
+accomplish these ends finds its justification in certain
+fundamental principles of teaching. Subject-matter
+is so presented that the important ideas
+stand out clearly. These ideas are mastered by
+utilizing them in some form of activity which leads
+to self-expression on the part of the children.
+Judgments are formed and conclusions are reached
+when children enter actively into a situation which
+presents a problem; ideas become their own
+through experience. Through dramatization children
+give expression to these ideas in the light
+of their own interpretation. The formulation of
+standards, the placing of values, and the realization
+of truths and ideals follow as direct results of
+actively entering into the life-experience of others.</p><p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+<p>From a psychological point of view ideas and
+ideals, whether religious or secular, are developed
+according to the same general laws. Furthermore,
+the principles of teaching which are effective in the
+daily classroom must be equally significant in
+religious training. It follows, therefore, that
+dramatization and other forms of self-expression
+are as valuable in attaining the aims of the Sunday
+school as they are in teaching the curriculum of
+the day school. Through dramatizing a Bible
+story children come into a comprehension of the
+life-experiences of a highly religious people; they
+are forming their own standards and ideals through
+meeting and solving the simple life-problems of the
+Hebrews. Each child has as great an opportunity
+for self-expression through dramatizing a Bible
+story as that afforded through dramatizing any
+other story. He not only develops his individuality,
+but through this kind of work he must necessarily
+come into the realization of his place within
+the group, as is the case in all well-directed dramatization.</p>
+
+<p>The period is rapidly passing in which dramatics
+is looked upon by church members as being sinful
+and not in any way to be connected with the
+church. This view is a relic of a conception of
+religion in which all forms of freedom and pleasure
+were considered evil. People interested in religious
+education are now realizing that dramatization<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+is not an activity foreign to children, but that it is
+an outgrowth of the play interest which is natural
+to all children. They are aware of the fact that
+dramatization becomes evident in the earliest
+stages of childhood through the desire of children
+to imitate in play the surrounding social activities.
+Many churches have already made use of these
+natural tendencies by incorporating organized
+play as one of their activities. Since dramatization
+is but a specialized form of organized play,
+and inasmuch as it can be used very effectively in
+vitalizing the religious training which all children
+should receive, it deserves a wider recognition and
+adoption.</p>
+
+<p>This book contains a description of a children's
+dramatic club which has been conducted as a part
+of the work of the Sunday school of the Hyde Park
+Church of Disciples, Chicago, Illinois, for the
+purpose of accomplishing the ends stated above.
+Before this dramatic club was organized a small
+amount of dramatization was attempted in certain
+of the classes during the Sunday-school period.
+The enthusiastic response from the children to
+this new phase of the work revealed the need for
+more of this kind of activity, and as a consequence
+it was decided to devote one hour each Sunday
+afternoon to the dramatization of Bible stories.
+The membership of the club included children
+ranging from six to fourteen years of age. The<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+average attendance has been from twenty to thirty
+children each Sunday throughout these four years
+of the club's existence.</p>
+
+<p>This organization was attempted more or less
+as an experiment with the hope that definite results
+could be accomplished. The practical problems
+which have arisen, the details of method of procedure,
+and the results which have been secured will
+be discussed in the following chapters.</p>
+
+<p>Several of the stories are given in the dramatic
+form which the children have worked out. This
+is done for the sake of showing what kind of a
+result may be secured. It is hoped that these
+plays, as they are written here, will not be given
+to children to learn and act; such a procedure
+would be entirely contrary to the spirit and purpose
+in which this experiment is set forth.</p>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br /><br />
+
+THE METHOD OF DRAMATIZATION</h2>
+
+
+<p>Two very different aims are revealed in the
+present-day employment of dramatization. Children
+are often required to give a dramatic production
+at some entertainment or social event. For
+this purpose a story is selected which has already
+been put into dramatic form. The parts are
+assigned by the leader, and the children are asked
+to memorize these parts in exact form and order.
+The children are then trained to give their parts
+according to directions. Throughout the preparation
+of the play the finished production is the goal
+of endeavor. In such instances as this the children
+are a means to an end, and their own training
+and development are usually sacrificed in
+the leader's attempt to secure a highly finished
+product.</p>
+
+<p>In contrast to the case just mentioned, dramatization
+is looked upon as an important educational
+factor in the development of children. From
+this point of view dramatization is utilized in
+developing on the part of the child intense and
+permanent interests in the words and deeds of
+noble characters, in developing power of natural<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+expression in them as individuals and as members
+of a group, and in raising standards of action to
+higher levels by giving forceful expression to worthy
+ideals. These aims are realized through the use
+of informal methods which give the children abundant
+opportunity for initiative and choice. The
+children themselves prepare their dramatization
+under the guidance of a leader who has a vision of
+the results which may be secured and who is skilful
+in directing the activities toward these ends.</p>
+
+<p>The little dramatic club herein described adopted
+at the outset the point of view outlined in the preceding
+paragraph. Its organization was based
+on the belief that the development of boys and
+girls is a much more vital consideration than the
+development of a dramatic production. Throughout
+its history the chief purpose of the club has
+been to promote the growth of children through
+the free, spontaneous dramatization of Bible
+stories. In order to accomplish this aim, an informal
+method of working out dramatizations has
+been used. The public presentation of a play is
+only incidental to the children; there is no need
+for them to act out a story that has been dramatized
+by someone else. Their aim is realized in the joy
+of actually living the story over each time they play
+it, though this may result in the highest form
+of entertainment. That children should "speak
+lines" given them to memorize for the sake of<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+entertainment is deadly&mdash;to the child as well as
+to the audience.</p>
+
+<p>There is some difference of opinion as to the
+value of the classic language of the Bible for children,
+and many advocate the use of modern or
+simplified versions. If, however, the children have
+made their own efforts to dramatize the story,
+using first of all their own words, it is easy to help
+them to adopt much of the beautiful classic language
+in putting the work into its final form. The
+biblical wording helps to give the play its proper
+dignity and atmosphere, at the same time acquainting
+the children with the exact language of a piece
+of good literature.</p>
+
+<p>The method of procedure which is followed in
+leading children to work out their own dramatizations
+varies slightly according to circumstances but
+in the main is as follows:</p>
+
+<p>A story is chosen by the leader which includes
+the elements essential for a good dramatization,
+and it is told to the children in such a way that the
+action or events are emphasized. Direct discourse
+is used in the telling, and an effort is made to
+develop simple and vivid mental pictures. The
+children divide the story into its most important
+pictures or scenes. They then suggest in detail
+what should take place in the first scene, and some
+of them are asked to act it out as they think
+it should be done. This first presentation is<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+sometimes stiff and more or less self-conscious. The
+leader raises such questions as, "Which parts did
+these children do best?" "Why?" "Where can
+they improve it?" "What would you do to make
+the part better?" "What do you think should
+have been said here?" This leads to constructive
+criticism of the scene by the children themselves
+rather than by the leader in charge. Each child
+is eager to offer suggestions at this point and is
+anxious for an opportunity to give his own interpretation
+of the part by acting it out. He formulates
+his words as he acts. He forgets himself
+in the genuine interest which arises as he relives
+the experience of someone else. Each scene is
+developed in a similar manner.</p>
+
+<p>The leader encourages freedom in individual
+interpretation, yet she is ever keeping before the
+children the fact that they are trying to give a
+true portrayal of the characters or conditions. It
+is often valuable to have a discussion of individual
+characters for the purpose of securing clear ideas
+concerning them. After all have tried various
+parts and have offered many suggestions, they
+may be led to choose that interpretation which
+seems most adequate, or they may all work out
+the interpretation of a part which will involve
+the ideas of many. After the story has been played
+through a few times, each child should be able to
+assume any character. It is an essential part of<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+this method to see that every child has a different
+part each time.</p>
+
+<p>Very often, when the play develops to this stage,
+some one child, or several, will suddenly become
+aware of repetitions in the scenes and will suggest
+that some scenes are unnecessary. It is then the
+time to refer to the number of scenes in a good
+drama, and to lead the children to realize that in
+any good play much is left to the imagination of
+the audience, and that only the essential scenes
+need be shown. By means of discussions the play
+is worked over again, and it is finally reduced to the
+three or four scenes that seem absolutely necessary.</p>
+
+<p>In many instances the dramatization needs no
+further development. None of the words have
+been accepted as definite, for, although the thought
+given is the same each time, exactly the same words
+are never said twice. The story is interpreted
+slightly differently with each performance. This
+interpretation, without obtaining a highly finished
+result, is best for short stories or incidents. Fables
+and parables may be used well in this way. The
+action follows continuously with the development
+of the thought.</p>
+
+<p>In the case of a story which has a more detailed
+plot and which involves more complicated situations
+the development may go further: the wording
+is carefully worked out by the children and the
+language of the Bible is employed. The words<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+which are finally used by the children may be
+composite results developed by the group as a
+whole, or after they have gone as far as they
+can with them the leader, or a committee composed
+of several children with the leader, may
+suggest a final form which is good from a literary
+standpoint.</p>
+
+<p>Children either volunteer or are chosen by the
+others to take finally certain parts. There is a
+marked socializing influence evident in the fact
+that a child is chosen by the other children for the
+good of the group and not for self-aggrandizement
+or partiality toward a friend. It is always the
+case after a few rehearsals that each child knows
+every part and can easily adapt himself to the part
+of any character. There is no trouble about a
+substitute when one or two children fail to arrive.
+Each child has lived the story until it has become
+a very vital part of him. The finished product
+belongs to the children; they have developed it;
+it is not the production of someone else which they
+have learned by heart.</p>
+
+<p>At the final presentation of the play the children
+invite parents and friends. This is not thought
+of as a climax toward which they have been working;
+it is hardly more important than any of the
+rehearsals; it is simply an opportunity for others
+to enjoy the story with them. The encouragement
+of this attitude toward the public presentation<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+of a play is important in that it does away with the
+self-conscious feeling of a child that he is acting
+before people, or that people are interested in him
+rather than in the character that he portrays.
+Much harm can be done by allowing a child to feel
+that he is "showing off" on a stage.</p>
+
+<p>This mode of procedure in developing a dramatization
+illustrates the general method which is
+employed in order to secure the results herein
+discussed. It should be helpful as a method which
+may be varied or built upon according to the circumstances.
+Detailed descriptions of exact modes
+of procedure in presenting different kinds of Bible
+stories to the dramatic club will follow. Costumes
+and stage settings have always been of the simplest
+nature and will be discussed at length in a separate
+chapter.</p>
+
+<p>In order that this method may be of greatest
+practical value to those who are unfamiliar with it,
+a summary may give the steps in logical sequence.
+This outline is not to be taken as unchangeable, but
+merely as a working basis for the beginner.</p>
+
+<div class="blockquot">
+<p>1. Select a story with care; then adapt it for
+telling.</p>
+
+<p>2. Tell the story, emphasizing the essential parts.</p>
+
+<p>3. Let the children divide the story into pictures
+or scenes.</p>
+
+<p>4. Have a discussion of what should take place
+in each scene.</p><p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<p>5. Let volunteers from among the children act
+out one scene as they think it should be done, using
+their own words.</p>
+
+<p>6. Develop criticism by the other children with
+suggestions for improvement.</p>
+
+<p>7. Have a second acting of the scene for improvement.</p>
+
+<p>8. Let each of the other scenes be worked out
+in the same manner.</p>
+
+<p>9. See that every child has the chance to try
+out many parts.</p>
+
+<p>10. Play the story through many times.
+Change it often according to the criticism, until
+the children recognize the result as a product of
+their best effort.</p>
+
+<p>11. With the help of the children change the
+words into biblical form.</p>
+
+<p>12. Let the group assign definite parts to be
+learned for the final performance.</p>
+</div>
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br /><br />
+
+THE DRAMATIZATION OF <i>JOSEPH</i></h2>
+
+
+<p>As will be noted in the following chapter, it is
+well in beginning dramatic work with children to
+use for the first efforts very simple stories. <i>Joseph</i>
+is too long and complicated for an early experiment.
+We may begin our exposition of method with this
+story, however, as it illustrates especially well the
+details of the developing process.</p>
+
+<p>At the first meeting the story was told in terms
+that followed closely the Bible version. The children
+were asked to select the big events, or pictures,
+in Joseph's life. They readily spoke of his life
+in Canaan as a boy; his being put into the pit
+and sold to the merchants; his life in Egypt with
+Potiphar; the prison experience and the interpretation
+of Pharaoh's dream; the change of fortune in
+becoming ruler of the land; the famine and the
+visits of his brothers; and, finally, his kindness to
+his father and brothers in giving them a home in
+Egypt.</p>
+
+<p>The story was told to the children very much as
+follows:</p>
+
+<div class="blockquot"><p>Jacob was an old man, too old to care for his large flocks.
+He sat in the door of his tent day after day, and sent his
+twelve sons off with the sheep and goats to find grassy fields.</p><p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p>
+
+<p>Now of all the twelve sons Jacob loved Joseph, a lad of
+seventeen years, the best. Joseph was next to the youngest
+and often stayed with his father while the older brothers went
+away. Jacob gave Joseph a coat of many colors and showed
+him often that he was the favorite. This made the older
+brothers very jealous of Joseph, and they began to dislike him.</p>
+
+<p>Once Joseph dreamed a dream, which he told to his
+brothers, and it made them hate him all the more. He said
+to them, "Hear, I pray you, this dream which I have
+dreamed: Behold, we were binding sheaves in the field, and,
+lo, my sheaf arose, and stood upright; and, behold, your
+sheaves stood round about and bowed down to my sheaf."
+Then his brothers said to him, "Shalt thou indeed reign over
+us? or shalt thou have power over us?"</p>
+
+<p>Then Joseph dreamed yet another dream, and he told
+it again to his father and brothers, and said, "Behold, the
+sun and moon and the eleven stars bowed down to me."
+And his father said unto him, "What is this dream that thou
+hast dreamed? Shall I and thy mother and thy brethren
+indeed come to bow down ourselves to thee?" And the
+brothers remembered what their father had said, and they
+wished that harm might come to Joseph.</p>
+
+<p>It happened soon after this that Jacob sent his ten older
+sons with the flocks to Shechem, a place some distance away
+where there was good grass. Now the brothers were gone
+for so long a time that their father became anxious and
+decided to send Joseph after them. He said to Joseph, "Do
+not thy brethren feed the flock in Shechem? Go, I pray
+thee, see whether it be well with thy brethren and well with
+the flocks; and bring me word again." So Joseph took
+money and food in his bag, and his staff in his hand, and
+went out to find his brothers.</p>
+
+<p>At Shechem there were no brothers to be seen. Joseph
+was wondering what he should do next, when he saw a man<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+coming toward him over the field. "What seekest thou?"
+said the man. And Joseph answered, "I seek my brethren;
+tell me, I pray thee, where they feed their flocks." "They
+have departed from here," said the man, "and have gone
+to Dothan." Then Joseph went after his brothers and
+found them at Dothan.</p>
+
+<p>Now when the brothers saw Joseph afar off, they knew
+that it was he from his coat of many colors, and they
+plotted against him. One of them said, "Behold, this
+dreamer cometh. Come, now, let us slay him, and cast
+him into some pit, and we will say unto our father that some
+evil beast hath devoured him; and we shall see what will
+become of his dreams." Reuben, one of the brothers, felt
+more kindly toward Joseph than did the others and said
+to them, "Let us not kill him, but let us cast him into this
+pit that is near." Reuben thought that he would come
+back later after the brothers had gone and help Joseph out
+of the pit and take him to his father.</p>
+
+<p>When Joseph came to his brothers, they quickly took the
+coat of many colors from him and bound him and cast him
+into an old well which was dry. Then they sat down to eat
+bread. They had hardly become settled when one of them
+cried out, "Behold, I see a caravan! It is a company of
+Ishmaelites, with their camels bearing spicery and balm
+and myrrh, going down to Egypt." Then Judah said,
+"Why do we slay our brother and conceal his blood?
+Come, let us sell him to these Ishmaelites, and let not our
+hand be upon him, for he is our brother and our flesh."
+The brothers were content to do as Judah had said. They
+drew Joseph up out of the well, and when the Ishmaelites
+came near they sold him to them for twenty pieces of silver.
+And the brothers went away to kill a goat so that they
+might dip Joseph's coat into the blood, that their father
+might think that he had been killed by some wild animal.</p><p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
+
+<p>Reuben did not know that Joseph had been sold, and
+returned unto the pit after the brothers had left. When he
+saw that Joseph was not there, he rent his clothes, and ran
+after the others, crying, "The child is not, and I, whither
+shall I go?"</p>
+
+<p>And when the brothers brought Joseph's coat to their
+father, they said, "This we have found, thou knowest if
+it be thy son's coat." And Jacob knew it, and said, "It
+is my son's coat; an evil beast hath devoured him."
+Then Jacob put on sackcloth and ashes and mourned for
+Joseph many days.</p>
+
+<p>Now the Ishmaelites brought Joseph down into Egypt
+and sold him to Potiphar, a captain of King Pharaoh's
+guard. And Joseph was faithful and served the Lord, and
+Potiphar saw that he could be trusted with great responsibility
+and made him ruler over his household. But Potiphar's
+wife grew jealous of Joseph and disliked him, and
+told Potiphar things which were untrue about Joseph.
+After awhile Potiphar began to believe his wife and he
+decided that Joseph was not a good man, so he had Joseph
+cast into prison.</p>
+
+<p>And it came to pass that the butler and the baker of the
+king of Egypt were put into prison at the same time that
+Joseph was there, and they were placed in his ward. One
+morning Joseph found them both very sad and he said unto
+them, "Wherefore look ye so sadly today?" And they
+said, "We have dreamed a dream and there is no one to
+interpret it." Then Joseph said, "Do not interpretations
+belong to God? Tell me your dreams, I pray you." And
+they told him their dreams, and he gave them the meaning
+thereof. To the chief butler he said, "Yet within three
+days shall Pharaoh lift up thine head and restore thee to
+thy place." But to the chief baker he said, "Yet within
+three days shall Pharaoh lift up thy head from off thee, and<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+shall hang thee on a tree." And it came to pass that on the
+third day Pharaoh gave a feast to his servants, and he
+restored the chief butler to his place, but he hanged the
+chief baker, as Joseph had interpreted.</p>
+
+<p>At the end of two years Pharaoh dreamed a dream. He
+was greatly troubled, and sent for all the wise men of the
+land to tell him the meaning of his dream, but there was
+none that could interpret it unto Pharaoh. Then the
+chief butler spoke to the king and said, "I do remember
+this day, that when Pharaoh was wroth with his servants
+and put both me and the chief baker into the prison, that
+we each dreamed dreams in one night; and there was a
+young man there, a Hebrew, who interpreted to us our
+dreams, and they came to pass as he interpreted, for the
+chief baker was hanged and I was restored to my office."</p>
+
+<p>Then Pharaoh sent for Joseph, and they brought him
+in hastily out of the dungeon. And Pharaoh said, "I have
+dreamed a dream, and there is none that can interpret it,
+and I have heard say of thee that thou canst understand a
+dream to interpret it." And Joseph answered Pharaoh,
+"It is not in me; God shall give Pharaoh an answer of
+peace." Then Pharaoh said, "In my dream, behold, I
+stood upon the bank of a river; and there came up out of
+the river seven fat cows, and they fed in a meadow. And,
+behold, seven other cows came up after them, lean and ill
+favored; and the lean and ill-favored cows did eat up the
+fat and well-favored cows. Then I dreamed again, and,
+behold, seven full ears of corn came upon one stalk, and
+then seven ears, withered and thin, came up after them,
+and devoured the good ears."</p>
+
+<p>And Joseph said to Pharaoh, "God hath shewed Pharaoh
+what he is about to do. This is the thing which he is about
+to do: Behold, there will come seven years of plenty
+throughout the land of Egypt; and there shall rise up after<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+them seven years of famine, and the famine shall consume
+the land. Now, therefore, let Pharaoh look out a man,
+discreet and wise, and set him over the land of Egypt, and
+let him gather up all the food during the years of plenty
+and lay it up in the cities, so that the land shall not perish
+in the famine." And the thing was good in the eyes of
+Pharaoh, and he said, "Can we find such a one as this is,
+a man in whom the spirit of God is? Forasmuch as God
+has shewed thee all this, there is none so discreet and wise
+as thou art; thou shalt be over my house, and according
+to thy word shall all my people be ruled." Pharaoh took
+off his ring from his hand and clothed him in fine linen and
+put a golden chain around his neck.</p>
+
+<p>Joseph went out from the presence of Pharaoh and went
+over all the land of Egypt. He gathered up the food for
+seven years, and laid up the food in the cities. And the
+seven years of plenteousness that were in all the land of
+Egypt were ended, and the seven years of famine began,
+and there was famine in all the lands. Then Joseph opened
+the storehouses and sold to the Egyptians, and other
+countries sent to buy grain from Joseph because they had
+stored none.</p>
+
+<p>Now in Canaan Jacob and his eleven sons were suffering
+from the famine. They heard that there was food in Egypt,
+so Jacob sent down all the brothers, except Benjamin, to
+buy food. When they came before Joseph and bowed
+themselves to the earth, they knew him not. But Joseph
+saw his brothers, and he made himself strange unto them,
+and treated them roughly, that they should not know him.
+And when they bowed before him Joseph remembered the
+dreams that he had dreamed of them. "Ye are spies,"
+he said, "ye are come to see the bareness of the land."
+They answered him, "We are true men, we are no spies.
+Thy servants are twelve brothers, the sons of one man<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+in Canaan; and, behold, the youngest is this day with our
+father, and one is not." "Hereby ye shall be proved,"
+said Joseph, "if ye be true men; let one of your brethren
+be bound in the prison while ye go and carry grain to your
+father's house, but bring back your youngest brother to me."</p>
+
+<p>The brothers took the food back to Canaan, to their
+father's tent, and told him what the ruler in Egypt had said.
+Jacob mourned and was loath to let Benjamin, his youngest
+son, go back to Egypt with them. "My son shall not go
+down with you," he said; "for his brother is dead and he is
+left alone: if mischief befall him, then shall ye bring down
+my gray hairs with sorrow to the grave." But the famine
+was great in the land, and they had eaten up all the grain
+which they brought from Egypt. The brothers would not
+go down again until Jacob had consented to let them take
+Benjamin with them. And Judah said unto his father,
+"Send the lad with me and we will rise and go, that we may
+live and not die. I will be surety for him; if I bring him
+not back unto thee, then let me bear the blame forever."
+Then Jacob answered, "If it must be so, do this: take the
+best of the fruits in the land, and carry down the man a
+present, a little balm, and a little honey, spices, and myrrh,
+nuts, and almonds and take double money, and take also
+your brother, and arise and go unto the man; and God
+Almighty give you mercy before the man, that he may send
+you away with your other brother and Benjamin."</p>
+
+<p>And the men took the present and double the money
+and Benjamin, and went down into Egypt, and stood before
+Joseph. When Joseph saw Benjamin, he ordered that the
+men be brought to his home, and that a feast be made ready,
+and that the other brother be brought out of the prison.
+But the men were afraid because they were brought into
+Joseph's home, and they bowed themselves to the earth
+before him and presented their gifts. Then Joseph was<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+greatly moved and said unto them, "Is your father well,
+the old man of whom ye spake? Is he yet alive?" And
+they answered, "Thy servant, our father, is in good health;
+he is yet alive." And they bowed down their heads. Then
+Joseph lifted up his eyes and saw Benjamin, his mother's
+youngest son, and said, "Is this your younger brother of
+whom ye spake unto me?" And he said to Benjamin,
+"God be gracious unto thee, my son." Joseph was so overcome
+by his love for Benjamin that he hastened out of the
+room where he could weep alone. And he washed his face
+and composed himself and commanded that the food be
+served. They all ate and were merry, and Joseph helped
+Benjamin to five times as much as he did the others.</p>
+
+<p>Then Joseph commanded the steward to fill the men's
+sacks with food, and to put each man's money back into his
+sack, and to put his silver cup into the sack of the youngest.
+As soon as the morning was light the men were sent away.
+And when they were gone out of the city and were not yet
+far off, Joseph sent a servant after them to search their sacks
+for his silver drinking-cup, and he sent word that the one
+who had it should be brought back to him.</p>
+
+<p>Now the brothers were greatly distressed and protested
+that they knew nothing of the cup. What was their
+astonishment at finding their money in their sacks and the
+cup in Benjamin's sack! Then they rent their clothes and
+returned to the city. And Judah came to Joseph and fell
+on the ground and said, "What shall we say unto my lord?
+or how shall we clear ourselves? God hath found out our
+sin, behold we are my lord's servants." Then Joseph said,
+"Get up and go in peace unto thy father; I shall keep for
+my servant only the man in whose sack the cup was found."
+And Judah came near to Joseph and besought him that he
+allow Benjamin to return to their father; he told him that
+he had promised his father to bring the lad back safely,
+and that it would kill the old man if they returned without<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+Benjamin. "Now therefore, I pray thee, let thy servant
+abide as a bondman, instead of the lad." Then Joseph
+could not refrain himself, and he wept before his brothers
+and made himself known to them. "I am Joseph, do ye
+not know me? Is my father yet alive?" And the brothers
+were troubled, and they did not know how to answer him.
+"Come near, I pray you." And they came near, and he
+said again, "I am Joseph, your brother, whom ye sold into
+Egypt. Now be not grieved nor angry with yourselves
+that ye sold me hither, for God did send me before you to
+preserve your lives. Haste ye, go up to my father, and
+tell him that Joseph, his son, still liveth, and bring him
+down unto me." And Joseph fell upon Benjamin's neck and
+kissed him, and he kissed all his brothers, and they were
+astonished, for they knew now that this was Joseph whom
+they had sold.</p>
+
+<p>Now the word was spread over Pharaoh's house that
+Joseph's brethren had come, and it pleased Pharaoh greatly.
+He came in where they were and said unto Joseph, "This
+do ye: Say to your brethren that they are commanded
+to go back into Canaan, and to pack all their household
+goods, and to bring their father and their families, and all
+their flocks, and to return into the land of Egypt, for all
+the good of the land shall be theirs."</p>
+
+<p>Then the brothers were joyful, and gave thanks unto
+Pharaoh and to their brother, Joseph, and they left the
+city to go back to their father. And when they came unto
+Jacob and told him all, and showed him the wagons which
+Joseph had sent to bring him down into Egypt, his soul
+rejoiced, and he said, "It is enough; Joseph, my son, is
+still alive: I will go and see him before I die."</p></div>
+
+<p>The children decided that it would take a great
+many scenes in order to act out the story adequately.
+At first they mentioned seven or eight.<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+One child was asked to describe the first scene as
+he thought it ought to be, and several others added
+to the description. Volunteers were then called
+upon to act it out then and there.</p>
+
+<p>The first scene was placed in front of Jacob's
+tent. Jacob is anxiously awaiting the return of his
+ten sons with the flocks. He becomes worried
+because they do not come, so he sends Joseph to
+seek his brothers. Joseph accepts the command
+and leaves the tent.</p>
+
+<p>This scene was acted very naturally and spontaneously
+by several groups of children. Each
+time it was changed, for no two groups of children
+interpreted the action or words alike.</p>
+
+<p>The children who were not acting were made to
+feel their responsibility also, for they were asked to
+make note of the best parts. A general discussion
+was held at the end of each presentation, in which
+the good points were emphasized and suggestions
+were given as to improvement. The criticism in
+all of this work comes for the most part from the
+children; the leader in charge directs it, but keeps
+from imposing her opinions.</p>
+
+<p>As the meetings of this dramatic club last but
+one hour, nothing more could be done than work
+out one scene at this first time. The children were
+asked to think the story over and to come the next
+Sunday prepared to suggest the second and third
+scenes in detail.</p><p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>At the next meeting the second and third scenes
+were worked out in the same manner as the first.</p>
+
+<p>The second scene places Joseph at Shechem.
+Here he meets the man who tells him that his
+brothers have gone to Dothan.</p>
+
+<p>In the third scene the brothers are seated on the
+ground eating and resting, with their shepherd
+staffs beside them; they begin to talk about Joseph
+and to tell of his dream and their hatred of him.
+Just at this point Joseph runs in and gives his
+father's message. He also tells of his experience
+in Shechem in not finding them there. Then the
+brothers take him and bind him and throw him
+into the pit. The caravan comes along and
+Joseph is sold and taken away. After the brothers
+depart, Reuben, not knowing that Joseph has been
+sold, comes back to the pit, hoping to help him out.
+When he finds the boy gone, he weeps and goes
+sorrowfully away. (A doorway which leads off
+from the stage at the back was used for the pit.
+There were no camels in the caravan; the men
+walked by.)</p>
+
+<p>During the next hour scenes which describe
+Joseph's life in Egypt were roughly blocked out.
+The children made up their words as they acted
+the parts. The language at this stage was very
+modern, but for the time being the emphasis was
+placed upon the thought expressed and upon the
+action.</p><p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+<p>Several of the older girls volunteered to write out
+the first few scenes in order to bring the language
+into better form. At the fourth meeting these
+were brought in and discussed by the children.
+The following is a version of the first scene just
+as it was written by a girl of twelve years. It is
+given here that the contrast may be seen between
+this as a piece of work which may be made better
+and the final play at the end of the chapter.</p>
+
+
+<h3>SCENE I</h3>
+
+<div class="blockquot">
+<p><i>Jacob:</i> It is time my sons are returning with their
+flocks. See if thou canst see them coming.</p>
+
+<p class="blockquot">[<i>Exit servant.</i>]</p>
+
+<p><i>First Lady:</i> Yes, they have been gone a long time. We
+have only Joseph and Benjamin with us.</p>
+
+<p class="blockquot">[<i>Enter servant.</i>]</p>
+
+<p><i>Jacob:</i> What didst thou see?</p>
+
+<p><i>Servant:</i> Master, I saw nothing of your sons.</p>
+
+<p><i>Jacob:</i> I shall send Joseph after them. Bring Joseph
+hither. [<i>Turns to another servant.</i>] Bring a bag of food
+for him to take with him on his journey.</p>
+
+<p class="blockquot">[<i>Servants leave.</i> <span class="smcap">Jacob</span> <i>looks away, hoping to see his sons.</i>]</p>
+
+<p><i>Jacob:</i> I do not see them. What can be the matter?</p>
+
+<p class="blockquot">[<i>Enter</i> <span class="smcap">Joseph</span> <i>with servant.</i>]</p>
+
+<p><i>Second Lady:</i> Joseph will be sure to find them.</p>
+
+<p><i>Jacob:</i> Joseph, my son, I am sending thee after thy
+brethren. Take this food to Shechem and bring thy
+brethren back to me.</p>
+
+<p><i>Joseph:</i> I will do as thou bidst.</p>
+
+<p class="blockquot">[<span class="smcap">Jacob</span> <i>stands and puts his hand on Joseph.</i>]</p>
+
+<p><i>Jacob:</i> May the Lord go with thee.</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<p>The third scene was written by a girl of eleven
+years and was as follows:</p>
+
+
+<h3>SCENE III</h3>
+
+<div class="blockquot"><p class="blockquot">[<i>All brothers look down the road.</i>]</p>
+
+<p><i>All Brothers:</i> What shall we do with him?</p>
+
+<p><i>Seventh Brother:</i> I know; let's kill him!</p>
+
+<p><i>All except Reuben:</i> Yea! Yea!</p>
+
+<p><i>Reuben:</i> Nay, do not kill him; let's put him in a deep pit.</p>
+
+<p><i>Tenth Brother:</i> Well, all right.</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>appears; exit</i> <span class="smcap">Reuben</span>.]</p>
+
+<p><i>Joseph:</i> Ah, I have found ye at last, my brethren.</p>
+
+<p class="blockquot">[<i>All grab</i> <span class="smcap">Joseph</span>.]</p>
+
+<p><i>Joseph:</i> What have I done to deserve this?</p>
+
+<p><i>Fourth Brother:</i> Get some rope!</p>
+
+<p class="blockquot">[<i>Exit sixth brother and brings some rope back with him.
+Eighth and ninth brothers bind</i> <span class="smcap">Joseph</span> <i>with ropes. All
+take hold of him and push him into the pit.</i>]</p>
+
+<p><i>Tenth Brother:</i> But what shall we tell our father?</p>
+
+<p><i>Eighth Brother:</i> Let's tell him that Joseph was killed
+by a wild beast.</p>
+
+<p><i>Ninth Brother:</i> We will take his coat of many colors,
+which our father gave him, and dip it in the blood of a goat.</p>
+
+<p><i>All:</i> Yea! Yea!</p>
+
+<p class="blockquot">[<i>Seventh brother sees some merchants.</i>]</p>
+
+<p><i>Seventh Brother:</i> I see merchants in the distance. Let's
+sell Joseph to them.</p>
+
+<p class="blockquot">[<i>One brother goes after the merchants, while the others bring</i>
+<span class="smcap">Joseph</span> <i>from the pit. Merchants enter.</i>]</p>
+
+<p><i>Tenth Brother:</i> What will ye give us for this lad?</p>
+
+<p><i>Merchant:</i> I guess we can give ye about twenty pieces
+of silver.</p><p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+<p class="blockquot">[<i>Merchants take</i> <span class="smcap">Joseph</span> <i>with them. Brothers go on their
+way. Enter</i> <span class="smcap">Reuben</span> <i>after his brothers have gone.
+He runs to the pit.</i>]</p>
+
+<p><i>Reuben:</i> Joseph! Joseph! Where art thou? The lad
+is gone. Whither shall I go?</p>
+
+<p class="blockquot">[<span class="smcap">Reuben</span> <i>goes away, sobbing and wringing his hands.</i>]</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+<hr class="tb" />
+
+<p>At the meeting when these were read the children
+began to criticize the length of the play. One
+little boy made the remark, "We keep telling the
+same things over; why can't we leave out that
+second scene? It is so short, and Joseph could
+tell his brothers in the third scene that he didn't
+find them at Shechem." This suggestion was
+readily accepted, and as a consequence the second
+scene was omitted. Then the entire group consciously
+worked on the play to see what parts were
+unnecessary. Several children had recently been
+to the theater and had seen some good plays.
+They told the others that there were few scenes
+and that there was much left to the imagination
+of the audience. The result was that this long-drawn-out
+play was cut down to three essential
+scenes. The first scene was placed at Dothan, and
+was much the same as the original scene iii. The
+second scene was placed at Pharaoh's palace where
+Joseph was brought to interpret the king's dream.
+The third represented the brothers coming to
+Joseph with Benjamin, the youngest, ending with<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+Joseph's forgiveness of them and his sending for
+Jacob, their father.</p>
+
+<p>After these three scenes were decided upon, the
+older children were asked to begin writing them out
+in final form.</p>
+
+<p>At the fifth meeting of the club all the children
+sat in a circle with Bibles and pencils and paper
+and, together with the leader, they formulated the
+speeches, making them conform as nearly as possible
+to those in the Bible. The work that had been
+done outside was discussed and built upon. This
+part of the procedure did not take as long a time
+as it may seem, because the children knew so well
+what thoughts they wanted to express&mdash;they had
+lived the story so many times. They practiced
+after this, using the words they had decided upon.</p>
+
+<p>For the next meeting or two the children acted
+out the play, trying each time to improve it by
+better interpretations of the parts. The fact that
+they had learned definite words did not in the least
+check the freedom of the action or cause the play
+to lose the spontaneity which first characterized
+it, for the reason that the story had quite become
+a part of the children before they decided upon the
+set speeches.</p>
+
+<p>The question arose as to which children should
+take certain parts. In some instances several
+wanted to learn the part of one particular character.
+They were each given the opportunity of<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+learning it, and then at the next meeting each
+acted it as best he or she could before the group.
+The other children were judges and decided upon
+the one who seemed to represent the character
+best. Whenever this method of choosing characters
+has been employed there has never been any
+hard feeling on the part of a child because he was
+not chosen. The justice of the choice is quickly
+recognized when it comes in this way rather than
+from the leader.</p>
+
+<p>There were many little children in this club who
+were scarcely old enough to learn a part or to say
+very much. They were easily worked into the
+caravan, or they took such parts as servants in
+Pharaoh's court. Each child was made to feel that
+one part was just as important as another and that
+those who had nothing to say were very essential
+elements because of their acting.</p>
+
+<p>Eight or nine meetings were needed before the
+play was entirely finished. The children had very
+simple slips for costumes which they had been wearing
+at each rehearsal. Bright-colored sashes and
+headdresses they brought from home. Pharaoh
+was more gaily dressed than the others. The child
+who took the part made for himself many ornaments
+from gilt paper.</p>
+
+<p>Very little attention was given to stage setting,
+what was used was extremely simple. A few of
+the older girls made designs from the Egyptian<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+lotus to stand around the walls of Pharaoh's
+palace or to be carried by the servants. Colored
+illustrations of Bible stories by Tissot were suggestive
+helps in these details. The ten brothers
+made themselves shepherd staffs from limbs of
+trees. This small amount of stage setting and
+costuming was used at many rehearsals and was all
+that was necessary to produce the right atmosphere.</p>
+
+<p>As soon as the children felt that the play represented
+their best effort they invited their parents
+and friends and presented it before them one
+Sunday afternoon at the time for the regular
+meeting.</p>
+
+<p>It happened that a few days before the final
+presentation four of the principal characters were
+taken ill with measles and chicken-pox. Four
+others, who had not given special attention to these
+parts, but who had minor parts, assumed the
+important rôles and went straight through the
+play with no trouble whatever. The audience
+never knew the difference and the children thought
+that it was entirely natural that they should be
+able to do this. The play all the way through was
+characterized by a spirit of dignity and seriousness.</p>
+
+<p>As direct results of this work in dramatization
+it was noted that all the children had acquired a
+certain freedom of expression, a self-confidence,
+without conceit or too much sureness, and the
+ability to work harmoniously with the group.<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+One or two timid children learned to forget themselves,
+and one overconfident child was helped
+by seeing that others could learn to do the part
+even a little better than herself.</p>
+
+<p>The children who took part in this little play of
+<i>Joseph</i> will never forget it. Several years after
+the play was given they were frequently referring
+to it with great happiness. Joseph is one of their
+favorite characters because they have lived through
+his experiences with him.</p>
+
+<p>The following is the play as it was given in its
+final form. It is not to be taken as a play which
+may be given to children to be learned as it is; it
+is given here that there may be some idea of the
+standard which may be reached.</p>
+
+
+
+
+<h3><a name="JOSEPH" id="JOSEPH"></a>JOSEPH</h3>
+
+
+<h4>SCENE I</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Dothan.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Reuben, Simeon, Levi, Judah, Issachar,
+Zebulun, Dan, Naphtali, Gad, Asher, Joseph, Several
+Ishmaelitish Merchants.</p>
+
+<p class="blockquot">[<i>The ten brothers are sitting and lounging on the ground,
+eating bread.</i>]</p>
+
+<p><i>Reuben:</i> Shall we stay longer in this place? Our
+flocks have fed well in Shechem and Dothan. Let us
+return again unto Canaan and to the tent of our father,
+Jacob.</p>
+
+<p><i>Judah:</i> Oh, why should we go back? Our father loveth
+us not! It is Joseph, our younger brother, that he favoreth!</p>
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+<p><i>Levi:</i> Yes, this Joseph! This dreamer of dreams! He
+thinketh he is greater than we. He thinketh he shall rule
+over us!</p>
+
+<p><i>Judah:</i> Ye heard him when he said, "Hear this dream
+which I have dreamed: Behold, we were binding sheaves
+in the field, and, lo, my sheaf arose, and stood upright;
+and, behold, your sheaves stood round about, and bowed
+down to my sheaf."</p>
+
+<p><i>Simeon:</i> Ha! Shall he indeed reign over us? Or
+shall he have dominion over us?</p>
+
+<p><i>Levi:</i> Yea, and he dreamed yet another dream, for he
+said, "Behold, the sun and the moon and the eleven stars
+bowed down unto me."</p>
+
+<p><i>Dan:</i> What is this dream which he has dreamed?
+Shall his mother and father and eleven brethren indeed
+come to bow down themselves to him?</p>
+
+<p><i>Simeon:</i> Joseph and his dreams are hateful unto me!
+I was glad when our father said to us, "Take the flocks to
+feed in Shechem," for now we are free of him.</p>
+
+<p><i>Levi:</i> It seemeth to me that I see this Joseph, this
+dreamer whom we hate. He is yet afar off, but he surely
+approacheth us!</p>
+
+<p><i>Reuben:</i> Can it be he?</p>
+
+<p><i>Dan:</i> Yes, for I see the coat of many colors, the coat
+our father made for his favorite son.</p>
+
+<p><i>Levi:</i> Why should he come to us? Cannot our father
+trust the flocks to our hands without sending this Joseph
+to spy on us?</p>
+
+<p><i>Dan:</i> It is he! It is Joseph!</p>
+
+<p><i>Simeon:</i> What shall we do?</p>
+
+<p><i>Judah:</i> Our time is come. We despise him; let us
+slay him.</p>
+
+<p><i>Reuben:</i> Nay, thou dost not mean to slay him!</p>
+
+<p><i>Several:</i> Nay! Nay!</p>
+<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+<p><i>Judah:</i> We must surely slay him. We must rid ourselves
+of this dreamer. Think how he said he should reign
+over us! Let us be rid of him!</p>
+
+<p><i>Simeon:</i> Yes, thou art right&mdash;we must slay him.</p>
+
+<p><i>Several:</i> Yea, yea, slay him! Destroy him! He shall
+dream no more such dreams!</p>
+
+<p><i>Simeon:</i> Behold, this dreamer cometh near! Come,
+now, and let us slay him, and cast him into some pit, and
+we will say, "Some evil beast hath devoured him," and we
+shall see what will become of his dreams.</p>
+
+<p><i>Reuben:</i> Let us not kill him. Shed no blood, but cast
+him into this pit that is in the wilderness, and lay no hand
+upon him.</p>
+
+<p class="blockquot">[<span class="smcap">Reuben</span> <i>goes away.</i>]</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>runs up.</i> <span class="smcap">Gad</span> <i>lays one hand roughly on his shoulder.</i>]</p>
+
+<p><i>Gad:</i> How comes it that thou art here? What is thy
+business?</p>
+
+<p><i>Joseph:</i> My father commanded me and said, "Go, I
+pray thee, and see whether it be well with thy brethren and
+well with the flocks; and bring me word again." So he
+sent me out of the vale of Hebron, and I came to Shechem.
+And you were not there, and I came on after you and found
+you here. What troubleth you? Hath aught happened
+to the flocks?</p>
+
+<p><i>Simeon:</i> Hear his tale! This dreamer of dreams! So
+he would reign over us, would he! Strip him of his coat
+of many colors! This favored son!</p>
+
+<p class="blockquot">[<i>Brothers bind</i> <span class="smcap">Joseph</span> <i>and cast him into the pit.</i>]</p>
+
+<p><i>Joseph:</i> What have I done to deserve this?</p>
+
+<p class="blockquot">[<i>Brothers sit down again to eat their bread.</i>]</p>
+
+<p><i>Gad:</i> Behold, I see a caravan!</p>
+
+<p><i>Simeon:</i> From what country?</p>
+
+<p><i>Gad:</i> It is a company of Ishmaelites, from Gilead, with
+their camels, bearing spicery and balm and myrrh, going
+down into Egypt.</p>
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+<p><i>Judah:</i> What doth it profit if we slay our brother and
+conceal his blood? Come, let us sell him to these Ishmaelites
+and let not our hand be upon him, for he is our
+brother and our flesh.</p>
+
+<p><i>Several:</i> So be it.</p>
+
+<p><i>Gad:</i> Hail the caravan, and bargain with these men.</p>
+
+<p><i>Simeon</i> [<i>salutes the head man of the caravan; the brothers
+listen attentively;</i> <span class="smcap">Gad</span> <i>brings</i> <span class="smcap">Joseph</span> <i>out of the pit</i>]: What
+wilt thou give us in exchange for this lad? We would sell
+him.</p>
+
+<p><i>Merchant</i> [<i>looks</i> <span class="smcap">Joseph</span> <i>over, then consults with his men</i>]:
+Twenty pieces of silver will we give for him.</p>
+
+<p><i>Simeon</i> [<i>to the brothers</i>]: These merchants will give us
+twenty pieces of silver for this dreamer.</p>
+
+<p><i>All:</i> Sell him! Sell him!</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>is taken over by the merchants and they all move on.
+The brothers are dividing out the money.</i>]</p>
+
+<p><i>Gad:</i> The lad is gone with the merchants, but what
+excuse shall we make unto our father?</p>
+
+<p><i>Simeon:</i> Say unto him that a wild beast hath devoured
+him. Here is his coat of many colors&mdash;we will kill a goat
+and dip the coat in the blood! Then our father, Jacob,
+will grieve for his son!</p>
+
+<p><i>All:</i> As thou sayest, so let us do!</p>
+
+<p class="blockquot">[<i>Brothers move off stage, discussing the money.</i> <span class="smcap">Reuben</span>
+<i>comes back. He runs and looks in the pit. He tears his
+clothes when he finds that</i> <span class="smcap">Joseph</span> <i>is not there.</i>]</p>
+
+<p><i>Reuben:</i> The child is not, and I, whither shall I go?</p>
+</div>
+
+
+<h4>SCENE II</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Egypt. In Pharaoh's palace.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Pharaoh, Joseph, Wise Men, Chief
+Butler, Servants.</p>
+
+<p class="blockquot">[<i>Pharaoh is sitting on his throne; many wise men come in
+and bow down before him.</i>]</p>
+<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p>
+<p><i>Pharaoh:</i> Arise, O wise men of Egypt! I have sent
+for you this day because of a dream which troubleth me.</p>
+
+<p class="blockquot">[<i>Men stand up.</i>]</p>
+
+<p><i>Wise Men:</i> What is thy dream, O King?</p>
+
+<p><i>King:</i> I dreamed, and, behold, I stood by a river, and
+there came up out of the river seven fat cows, and they
+fed in a meadow. And, behold, seven other cows came up
+after them out of the river, ill-favored and lean. And the
+ill-favored and lean cows did eat up the seven well-favored
+and fat cows. Then did I awake, but the second time I
+slept and dreamed. And, behold, seven good ears of corn
+came up upon one stalk, and, behold, seven thin ears
+sprung up after them, and the seven thin ears devoured
+the seven full ears. And I awoke again, and, behold, it
+was a dream. Now, is there one among you who can tell
+me the meaning of these dreams, for my spirit is troubled
+because of them?</p>
+
+<p class="blockquot">[<i>The wise men in turn come out and bow before the king
+and say</i>]:</p>
+
+<p><i>First Wise Man:</i> O my lord King, thy dream troubleth
+me, but I am not able to interpret it.</p>
+
+<p><i>Second Wise Man:</i> O King, also, I cannot tell thee the
+meaning of thy dream.</p>
+
+<p><i>Third Wise Man:</i> Most gracious King, I, also, am
+unable to interpret thy dream.</p>
+
+<p><i>Fourth Wise Man:</i> O great Pharaoh, I regret that I
+am unable to help thee.</p>
+
+<p><i>Pharaoh</i> [<i>angrily</i>]: Are ye called the wise men of Egypt,
+and yet are ye not able to interpret a dream?</p>
+
+<p class="blockquot">[<i>The chief butler comes forward and falls before the king.</i>]</p>
+
+<p><i>Butler:</i> O great King, I am only thy chief butler, but
+I beg of thee allow me to speak.</p>
+
+<p><i>King:</i> Speak, butler, what wouldst thou say?</p>
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<p><i>Butler:</i> O King, I do remember my faults this day.
+When Pharaoh was wroth with his servants and put me
+in prison, both me and the chief baker, behold, we dreamed
+a dream in one night, and there was a young man, a Hebrew,
+and we told him, and he interpreted to us our dream. And
+it came to pass as he interpreted unto us, for I was restored
+unto mine office and the baker was hanged.</p>
+
+<p><i>Pharaoh:</i> Send for this young Hebrew; bring him into
+my presence. [<i>Servant goes out for</i> <span class="smcap">Joseph</span>.] Butler, who
+is this boy that interpreted thy dream?</p>
+
+<p><i>Butler:</i> His name is Joseph, O King. He was brought
+down from Canaan by a caravan and was sold to Potiphar,
+the captain of Pharaoh's guard. But he displeased Potiphar,
+so he was thrown into prison at the time thy servants were
+there.</p>
+
+<p class="blockquot">[<i>Enter</i> <span class="smcap">Joseph</span>.
+<i>He falls on his face before</i> <span class="smcap">Pharaoh</span>.]</p>
+
+<p><i>Pharaoh:</i> I have dreamed a dream, and there is none
+that can interpret it, and I have heard say of thee that thou
+canst understand a dream to interpret it.</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>rises.</i>]</p>
+
+<p><i>Joseph:</i> It is not in me; God shall give Pharaoh an
+answer of peace.</p>
+
+<p><i>Pharaoh:</i> [<i>Repeats his dream to</i> <span class="smcap">Joseph</span>.]</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>comes nearer to</i> <span class="smcap">Pharaoh</span>.]</p>
+
+<p><i>Joseph:</i> What God is about to do he sheweth unto
+Pharaoh: Behold, there will come seven years of great
+plenty throughout all the land of Egypt. And there shall
+arise after them seven years of famine. And all the plenty
+shall be forgotten throughout Egypt, and the famine shall
+consume the land, and it shall be very grievous. Now
+therefore let Pharaoh look out a man discreet and wise and
+set him over the land of Egypt, and let him appoint officers
+over the land. And let them gather all the food of those<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+good years that come, and lay up corn under the hand of
+Pharaoh. And let them keep food in the cities. And
+that food shall be stored against the seven years of famine,
+that the land may not perish through famine.</p>
+
+<p><i>Pharaoh:</i> This plan seemeth good unto me. Can we
+find such a one as this is, a man in whom the spirit of God is?</p>
+
+<p><i>The Wise Men:</i> Nay, O King, he is most wise.</p>
+
+<p><i>Pharaoh:</i> Forasmuch as God hath shewed thee all this,
+thou shalt be over my house, and according to thy word
+shall all my people be ruled, only in the throne will I be
+greater than thou. See, I have set thee over all the land of
+Egypt. [<i>To his servants:</i>] Bring a golden chain, and fine
+raiment for this man.</p>
+
+<p class="blockquot">[<i>He puts a ring on</i> <span class="smcap">Joseph's</span> <i>hand. When the clothes are
+brought they are put around him, the chain on his neck, etc.</i>]</p>
+
+<p><i>Pharaoh:</i> Thou shalt ride in the second chariot and all
+my people shall bow the knee unto thee. [<i>All people in the
+room bow.</i>] I am Pharaoh, and without thee shall no man
+lift up his hand or foot in all the land of Egypt.</p>
+
+<p><i>Joseph:</i> May the Lord God give me power to do his will.</p>
+</div>
+
+
+<h4>SCENE III</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Pharaoh's palace.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Joseph, His Eleven Brothers, Servants,
+Pharaoh.</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>is seated on his high seat. A servant comes in.</i>]</p>
+
+<p><i>Servant:</i> Master, the men that came down from Canaan
+to buy food of thee have returned and would have a word
+with thee.</p>
+
+<p><i>Joseph:</i> Bring them in. [<i>To another servant</i>]: Go
+see that a feast is prepared for these men.</p>
+
+<p class="blockquot">[<i>The brothers enter bringing</i> <span class="smcap">Benjamin</span>. <i>They all fall on
+their faces.</i>]</p>
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+<p><i>Joseph:</i> Arise! And have you returned bringing with
+you your youngest brother?</p>
+
+<p><i>Reuben:</i> O sir, we have brought our youngest brother;
+he is here.</p>
+
+<p class="blockquot">[<span class="smcap">Benjamin</span> <i>is led forward.</i> <span class="smcap">Joseph</span> <i>goes near and puts his
+hand on</i> <span class="smcap">Benjamin</span>.]</p>
+
+<p><i>Joseph:</i> And is this your younger brother of whom ye
+spake unto me? God be gracious unto thee, my son!
+[<i>To the brothers:</i>] Is your father well, the old man of whom
+ye spake? Is he yet alive?</p>
+
+<p><i>Levi:</i> Thy servant, our father [<i>all bow heads</i>], is in good
+health; he is yet alive.</p>
+
+<p class="blockquot">[<span class="smcap">Joseph</span> <i>turns away and begins to weep; he leaves them
+abruptly and walks to the other side of the room.</i>]</p>
+
+<p><i>Joseph</i> [<i>to the servants</i>]: Cause every man to go out
+from me! [<i>All begin to leave the room, brothers included.</i>]
+[<i>To the brothers. He walks quickly after them and holds
+his arms out toward them.</i>] Stay! I am Joseph; doth my
+father yet live? Come near to me, I pray you. [<i>They
+come somewhat nearer and fall to the ground.</i>] I am Joseph,
+your brother, whom ye sold into Egypt. Now, therefore,
+be not grieved nor angry with yourselves, that ye sold me
+thither, for God did send me before you to preserve life.
+For these two years hath the famine been in the land; and
+yet there are five years more. God hath sent me before
+you to save your lives. Haste ye, and go up to my father,
+and say unto him, "Thus saith thy son Joseph, God hath
+made me lord of all Egypt. Come down unto me, and tarry
+not. And thou shalt be near unto me, thou and thy children,
+and thy flocks, and thy herds and all thou hast. Oh,
+do you not see that I am Joseph that speak unto you?"
+[<i>He weeps again and turns away.</i>]</p>
+
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+<div class="figcenter" style="width: 600px;">
+<a name="fig1" id="fig1"></a>
+<img src="images/i_056.jpg" width="600" height="343" alt="Fig. 1&mdash;Pharaoh's court" title="Fig. 1&mdash;Pharaoh&#39;s court"/>
+<span class="caption"><span class="smcap">Fig. 1.</span>&mdash;Pharaoh&#39;s court</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<p><i>Brothers:</i> Joseph, our brother Joseph! Can he forgive
+us?</p>
+
+<p class="blockquot">[<span class="smcap">Pharaoh</span> <i>enters here</i>]</p>
+
+<p><i>Joseph:</i> O King, these are my brethren, and from my
+father's tent.</p>
+
+<p><i>Pharaoh:</i> Say unto thy brethren: "This do ye: Go
+back unto the land of Canaan and take your father and
+your household goods, and come unto me. And I will
+give you the good of the land of Egypt, and ye shall eat
+of the fat of the land. Now ye are commanded: This do
+ye: Take ye wagons out of Egypt for your little ones, and
+for your wives, and bring your father, and come, for the
+good of the land shall be yours."</p>
+
+<p><i>One Brother:</i> We thank thee, O great Pharaoh, and our
+brother Joseph. This is greater than we deserve. We will
+bring our father down straightway.</p>
+
+<p><i>Joseph:</i> Praise be to God who has done this good thing!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br /><br />
+
+THE DRAMATIZATION OF <i>DAVID AND GOLIATH</i></h2>
+
+
+<p>When beginning dramatic work with a group of
+children who have never had the training before,
+it is always well to select as the first story to be
+dramatized one that is short, simple in structure,
+and full of action. If children undertake a long
+story which involves complicated situations, they
+easily become discouraged and lose the joy and
+spontaneity which are essential elements in successful
+dramatizations. Fables, such as "The Boy
+and the Wolf" or "The Fox and the Grapes,"
+are excellent to begin with, because they contain
+the necessary qualities which make up a good short
+story. Situations as simple as those which are
+presented in these fables are entered into with
+great freedom, and they seem to pave the way for
+more ambitious dramatizations.</p>
+
+<p>The story of <i>David and Goliath</i> is short, simple,
+and yet contains vivid action. It was chosen as
+one of the first stories to be given to the dramatic
+club because of these qualities. After the children
+had gone through the experience of dramatizing
+it they had gained a self-confidence and a realization
+of their own power in interpreting a story
+through dramatization.</p><p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+
+<p>The methods employed in presenting <i>David and
+Goliath</i> were much the same as those described in
+connection with <i>Joseph.</i> The point that must be
+kept in mind in all of this work is that the dramatization
+of a story begins with the action and that
+the words are developed. The play is never
+written first and acted afterward.</p>
+
+<p>While telling the story the leader placed much
+emphasis upon the activities and ideals of the
+shepherd life of the Hebrews in the time of David.
+The children made their own armor&mdash;helmets,
+swords, shields&mdash;from cardboard and colored papers.
+Pictures and descriptions which they secured
+helped them to get correct ideas as to shapes and
+decorations.</p>
+
+<p>The costumes were simple little slips that could
+be belted in at the waist, and came only to the
+knees. The children helped to plan and make
+them. David made his shepherd staff from a limb
+of a tree, and the soldiers made their spears by
+fastening gilded points to long sticks.</p>
+
+<p>A question arose as to how the sling was
+made. The children found, upon looking up
+this point, that the sling was woven from different
+colored wools. From a good picture they
+constructed looms from cardboard and actually
+wove several slings like David's. <a href="#fig14">Fig. 14</a> shows
+a diagram of the loom as the children worked
+it out.</p><p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+
+<p>A very great value was derived from this construction
+work, in that it came entirely from the
+children; it was an outgrowth of their genuine
+interest in the subject. They were reliving the
+same experiences and solving the same problems
+that had confronted David.</p>
+
+<p>The gentle spirit of David had a direct influence
+upon the whole group. It made no difference what
+part a child interpreted&mdash;whether that of Goliath
+or of one of the brothers&mdash;it was evident that
+David's high ideals and sweetness of character
+called forth admiration.</p>
+
+<p><a href="#fig2">Fig. 2</a> gives one of the scenes from <i>David and
+Goliath.</i> The play follows as it was given.</p>
+
+
+<h3>DAVID AND GOLIATH</h3>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Characters:</span> David, David's Three Brothers, King
+Saul, Goliath, Israelite Soldiers, Philistine Soldiers.</p></div>
+
+
+<h4>SCENE I. THE CHALLENGE</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> On the battlefield.</p>
+
+<p><i>First Brother:</i> Have ye seen this Philistine who is come
+up, this giant who has defied the armies of the living God?</p>
+
+<p><i>Second Brother:</i> Who has seen him?</p>
+
+<p><i>Third Brother:</i> I have seen him; he is verily a giant.
+His height is six cubits and a span. He weareth an helmet
+of brass upon his head, and he is armed with a coat of mail,
+and he hath greaves of brass upon his legs, and the staff of
+his spear is like the weaver's beam; and one bearing a
+shield goeth before him. Our soldiers are truly afraid.
+They flee as he approacheth.</p><p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig2" id="fig2"></a>
+<img src="images/i_061.jpg" width="600" height="347" alt="Fig. 2.&mdash;A scene from David and Goliath" title="Fig. 2.&mdash;A scene from David and Goliath"/>
+<span class="caption"><span class="smcap">Fig. 2.</span>&mdash;A scene from <i>David and Goliath</i></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
+<p><i>Goliath</i> [<i>apart from the king and soldiers</i>]: Why are ye
+come out to gather your armies to battle? Am I not a
+Philistine, and ye servants to Saul? Choose you a man
+for you, and let him come down to me. If he be able to
+fight with me, and to kill me, then will we be your servants;
+but if I prevail against him and kill him, then shall ye be
+our servants and serve us. I defy the armies of Israel this
+day; give me a man, that we may fight together.</p>
+
+<p class="blockquot">[<i>Some of the soldiers turn and flee.</i>]</p>
+
+<p><i>Saul:</i> Hear the words of this Philistine. I know not
+what we can do. Have we no man among us with the
+strength or boldness to fight this giant? I will enrich him
+with great riches.</p>
+
+<p><i>Second Brother:</i> In truth, he is a mighty giant, O King.
+Our soldiers are greatly dismayed; no one will accept this
+challenge.</p>
+
+<p class="blockquot">[<i>The king and two soldiers go out. Enter</i> <span class="smcap">David</span>. <i>He runs
+up to his brothers and salutes them.</i>]</p>
+
+<p><i>First Brother:</i> This is David, our younger brother!
+How cometh it that thou art here?</p>
+
+<p><i>Second Brother:</i> I thought we left thee tending the sheep.</p>
+
+<p><i>Third Brother:</i> What news dost thou bring of our
+father? Is all well with him?</p>
+
+<p><i>David:</i> My father commanded me, saying, "Take now
+for thy brethren this parched corn and these ten loaves,
+and run to the camp of thy brethren; and carry these ten
+cheeses unto the captain of their thousand, and look how
+thy brethren fare." And I rose up early in the morning,
+and left the sheep with a keeper, and came as my father
+commanded.</p>
+
+<p class="blockquot">[<i>Brothers take food from</i> <span class="smcap">David</span>.]</p>
+
+<p><i>Goliath:</i> Why are ye come out to gather your armies
+to battle? Am I not a Philistine, and ye servants to Saul?<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+Choose you a man for you and let him come down to me.
+If he be able to fight with me and to kill me, then will we be
+your servants; but if I prevail against him and kill him, then
+shall ye be our servants and serve us. I defy the armies of
+Israel this day; give me a man, that we may fight together.</p>
+
+<p class="blockquot">[<span class="smcap">David</span> <i>listens. The soldiers seem disturbed and frightened.</i>]</p>
+
+<p><i>David:</i> What meaneth this?</p>
+
+<p><i>Soldier</i> [<i>walks up to</i> <span class="smcap">David</span>]: Have ye seen this man who
+is come up? Surely to defy Israel is he come up. And
+it shall be that the man who killeth him the king will enrich
+with great riches, and will give him his daughter, and make
+his father's house free in Israel.</p>
+
+<p><i>David:</i> Who is this Philistine that he should defy the
+armies of the living God?</p>
+
+<p><i>First Brother</i> [<i>showing anger against</i> <span class="smcap">David</span>]: Why
+camest thou hither? And with whom hast thou left those
+few sheep in the wilderness? I know thy pride, and the
+naughtiness of thy heart; for thou art come down that thou
+mightest see the battle.</p>
+
+<p><i>David:</i> What have I now done? [<i>He turns from his
+brothers and speaks to the people.</i>] What shall be done with
+the man that killeth this Philistine and taketh away the
+reproach from Israel? For who is this Philistine that he
+should defy the armies of the living God? I will fight him,
+and if I prevail against him and kill him, then will the
+Philistines be our servants and serve us. The Lord God
+of Israel will deliver him into my hands.</p>
+
+<p><i>Soldiers:</i> Saul, the king, shall hear these words!</p>
+</div>
+
+
+<h4>SCENE II. DAVID BEFORE SAUL</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Saul's tent.</p>
+
+<p><i>David</i> [<i>comes in and salutes the king</i>]: Let no man's
+heart fail because of this giant; thy servant will go and
+fight with this Philistine.</p><p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+
+<p><i>Saul:</i> Thou art not able to go against this Philistine
+to fight with him; for thou art but a youth, and he a man of
+war from his youth.</p>
+
+<p><i>David:</i> Thy servant kept his father's sheep, and when
+there came a lion or a bear, and took a lamb out of the
+flock, I went out after him and smote him, and delivered it
+out of his mouth; and when he rose up against me, I caught
+him by the beard and smote him and slew him. Thy
+servant slew both the lion and the bear; and this Philistine
+shall be as one of them, seeing he hath defied the armies of
+the living God. The Lord that hath delivered me out of the
+paw of the lion, and out of the paw of the bear, he will
+deliver me out of the hand of this Philistine.</p>
+
+<p><i>Saul:</i> Go, and the Lord go with thee. [<i>To soldiers</i>]:
+Bring forth armor; this youth must be ready to meet
+the foe.</p>
+
+<p class="blockquot">[<i>The soldiers bring armor.</i> <span class="smcap">Saul</span> <i>puts the armor, a helmet
+and a coat of mail, on</i> <span class="smcap">David.</span> <span class="smcap">David</span> <i>puts on his sword,
+then walks a few steps. He suddenly throws the sword down
+and begins to take off the armor.</i>]</p>
+
+<p><i>David:</i> I cannot go with these, for I have not proved
+them. [<i>He takes the armor off and keeps only his shepherd's
+staff and sling.</i>] The Lord that delivered me out of the
+paw of the lion, and out of the paw of the bear, he will
+deliver me out of the hand of this Philistine.</p>
+
+<p class="blockquot">[<i>He bows to the king and goes out.</i>]</p>
+</div>
+
+
+<h4>SCENE III. THE BATTLE</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The battlefield.</p>
+
+<p class="blockquot">[<span class="smcap">David</span> <i>picks up five smooth stones and puts them into his
+shepherd bag.</i> <span class="smcap">Goliath</span> <i>comes toward him. He is
+dressed in armor, and the man that bears his shield comes
+before him.</i> <span class="smcap">Goliath</span> <i>looks surprised and disgusted when
+he sees</i> <span class="smcap">David.</span>]</p>
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<p><i>Goliath:</i> Am I a dog that thou comest to me with
+staves? Come to me and I will give thy flesh unto the
+fowls of the air and unto the beasts of the field.</p>
+
+<p><i>David:</i> Thou comest to me with a sword, and with a
+spear and with a shield; but I come to thee in the name of
+the Lord of hosts, the God of Israel, whom thou hast defied.
+This day will the Lord deliver thee into mine hand; and I
+will smite thee, and take thy head from thee; and I will
+give the bodies of the Philistines unto the fowls of the air,
+and unto the beasts of the field, that all may know that there
+is a God in Israel. And all this assembly shall know that
+the Lord saveth not with the sword and with the spear, for
+the battle is the Lord's and he will give you into our hands!</p>
+
+<p class="blockquot">[<span class="smcap">David</span> <i>puts his hand into his bag and takes out a stone and
+slings it, so that it hits the giant in the forehead. The
+giant falls. The Philistines flee.</i> <span class="smcap">David</span> <i>stands with his
+foot on the body of the giant.</i>]</p>
+
+<p><i>Israelite Soldiers with David:</i> The battle is the Lord's!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br /><br />
+
+THE DRAMATIZATION OF <i>MOSES IN THE BULRUSHES</i></h2>
+
+
+<p>The method of presenting the story of <i>Moses
+in the Bulrushes</i> differed somewhat from that employed
+with <i>Joseph.</i> There was little need to tell
+the story at the beginning, for every child already
+knew it in detail. Consequently the leader had
+the children tell most of it, while she supplemented
+and directed attention to important parts.</p>
+
+<p>In this case the entire play was planned roughly
+before any of it was acted. The story was criticized
+by the children as to its organization and
+unity, and as a result they made up an ending
+(<a href="#act_iii">Act III</a>) which they felt was needed to make the
+story complete. Experience with the other plays
+had led the children to feel the necessity for having
+a satisfactory ending after the climax.</p>
+
+<p>At the second meeting several girls brought
+in the scenes as they had written them out. They
+had tried to embody the points which the children
+had decided upon as the general plan of the play.
+The final play varies very little from these scenes
+thus written by the girls themselves.</p>
+
+<p>There was no difficulty in solving the problem
+as to what they would do for a baby in the first<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+part of the play. Many dolls were brought in,
+and the choice fell upon the one that received the
+largest number of votes because of his likeness
+to the baby Moses. A woven basket served for
+the cradle of bulrushes. There were many rehearsals
+when there was no doll or cradle, but the
+children never felt the lack. Their imaginations
+can supply all needs.</p>
+
+<p>A few big Egyptian designs were made for the
+first and last scenes, which were placed in the king's
+court. These were fastened on the walls and around
+the king's seat, as was done in the play of <i>Joseph.</i></p>
+
+<p>Before the play was given before parents and
+friends the children decided to call it <i>The Childhood
+of Moses.</i> An older boy in the church printed
+programs for the occasion that the audience might
+better understand the play. They read as follows:</p>
+
+<p class="center"><span class="smcap"><b>The Childhood of Moses</b></span></p>
+
+<p class="center">Dramatized and Presented by the Children's Dramatic Club<br />
+of the Hyde Park Church of Disciples</p>
+
+<p class="center">CHARACTERS</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="chars">
+<tr><td align="left"><span class="smcap">Pharaoh</span></td><td align="left">King of Egypt</td></tr>
+<tr><td align="left"><span class="smcap">Princess</span></td><td align="left">Pharaoh's Daughter</td></tr>
+<tr><td align="left"><span class="smcap">Moses</span></td><td align="left">A Hebrew Boy</td></tr>
+<tr><td align="left"><span class="smcap">Hebrew Woman</span></td><td align="left">Mother of Moses</td></tr>
+<tr><td align="left"><span class="smcap">Miriam</span></td><td align="left">Sister of Moses</td></tr>
+<tr><td align="left"><span class="smcap">Aaron</span></td><td align="left">Brother of Moses</td></tr>
+<tr><td align="left"><span class="smcap">Wise Men</span></td><td align="left">Advisers of Pharaoh</td></tr>
+<tr><td align="left" colspan="2">Soldiers, Attendants to the Princess, Servants</td></tr>
+</table></div>
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+
+<p class="center">SYNOPSIS OF SCENES</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="synopsis">
+<tr><td align="left">Act I.</td><td align="left">Pharaoh orders the killing of Hebrew boys.</td></tr>
+<tr><td align="left">Act II,</td><td align="left">Scene 1. In the home of a Hebrew family.</td></tr>
+<tr><td align="left">&nbsp;</td><td align="left">Scene 2. A Hebrew mother hides her child among the bulrushes.</td></tr>
+<tr><td align="left">&nbsp;</td><td align="left">Scene 3. The child is found by Pharaoh's daughter.</td></tr>
+<tr><td align="left">Act III. </td><td align="left">Moses is brought to Pharaoh's court.</td></tr>
+</table></div>
+
+<p>The following is the play as it was given:</p>
+
+
+<h3>THE CHILDHOOD OF MOSES</h3>
+
+<h4><span class="smcap">Act I</span></h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Characters:</span> King, Wise Man, Chief Adviser, Queen,
+Maids, and Soldiers.</p>
+
+<p><i>King:</i> Behold, the people of the children of Israel are
+more and mightier than we. Come, let us do wisely with
+them lest they rise up and make war against us.</p>
+
+<p><i>Chief Adviser:</i> What more can we do than we have
+already done? We have made their lives bitter with hard
+service, and we have made them carry our brick and mortar
+and work in our fields.</p>
+
+<p><i>Wise Man:</i> O King Pharaoh, I beg thee to let me speak.</p>
+
+<p><i>King:</i> Speak, Wise Man.</p>
+
+<p><i>Wise Man:</i> O King, I pray thee to be kind to these
+people. When these Hebrews first came down from the
+land of Canaan, a young man named Joseph saved our land
+from great famine. These Israelites are his children's
+children and we should treat them kindly.</p>
+
+<p><i>King:</i> Treat them kindly! We have been kind to them
+long enough; we must destroy them. I will command that
+every Hebrew boy baby be killed!</p>
+
+<p class="blockquot">[<i>Exeunt</i> <span class="smcap">King</span> <i>and courtiers followed by soldiers.</i>]</p>
+
+<p><i>Princess:</i> O most gracious father, have mercy upon them.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+
+<h4><span class="smcap">Act II</span></h4>
+
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The home of a Hebrew family.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Moses, Mother of Moses, Miriam, Aaron.</p>
+
+<p class="blockquot">[<i>The mother is singing to the baby in her lap.</i> <span class="smcap">Aaron</span> <i>is
+playing on the floor.</i> <span class="smcap">Miriam</span> <i>runs in.</i>]</p>
+
+<p><i>Miriam:</i> O mother! The king has commanded that
+all the boy babies be thrown in the river! How can we save
+our baby?</p>
+
+<p><i>Mother:</i> Where shall we take him? I have hidden him
+for these three months, but he is so big now and his cries
+are so loud that they will be sure to find him wherever we go.</p>
+
+<p><i>Miriam:</i> Come quickly, mother; we will go to the river
+and hide him nearby. Pharaoh cannot find him there,
+for he will think that he has been thrown in the water.</p>
+
+<p><i>Mother:</i> O my poor baby!</p>
+
+<p class="blockquot">[<i>The three run out.</i>]</p></div>
+
+
+<h5>SCENE II</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The river bank.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Moses, Mother of Moses, Miriam.</p>
+
+<p class="blockquot">[<i>The mother appears with the baby in her arms.</i> <span class="smcap">Miriam</span>
+<i>follows.</i>]</p>
+
+<p><i>Miriam:</i> O mother! We can hide him in these tall
+grasses!</p>
+
+<p><i>Mother:</i> But I must have something to put him in.
+Gather these rushes and I will weave a little cradle for him.</p>
+
+<p class="blockquot">[<i>They both pick bulrushes and the mother weaves the basket.</i>]</p>
+
+<p><i>Mother:</i> How can I leave him here alone? My little
+daughter, will you stay and watch and bring me word
+quickly if anything happens? We will hide the baby in
+this basket among the flags, here at the edge of the water.</p><p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p>
+
+<p><i>Miriam:</i> Good! Mother, I will hide nearby and see
+that no harm comes to our baby.</p>
+
+<p class="blockquot">[<i>The mother kisses the baby and puts him in the basket, then
+rises and turns away.</i>]</p>
+
+<p><i>Mother:</i> Keep watch until I return.</p>
+
+<p class="blockquot">[<i>Exit mother;</i> <span class="smcap">Miriam</span> <i>hides.</i>]</p>
+</div>
+
+
+<h5>SCENE III</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The river bank.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The Princess, Her Maidens, Soldiers,
+Moses, Mother of Moses, and Miriam.</p>
+
+<p class="blockquot">[<i>Several soldiers walk across the stage. Enter</i> <span class="smcap">Princess</span> <i>and
+her maids.</i>]</p>
+
+<p><span class="smcap">Princess</span> [<i>looking around</i>]: What beautiful clear water
+for my bath!</p>
+
+<p><i>First Maid:</i> Yea, Princess. Will you bathe here?</p>
+
+<p class="blockquot">[<i>A baby's cry is heard.</i>]</p>
+
+<p><i>Princess:</i> What is it I hear? It sounds like a baby
+crying! Look about, maidens! Is there something here?</p>
+
+<p class="blockquot">[<i>All look about.</i>]</p>
+
+<p><i>Second Maid</i> [<i>finds baby; all come running up to her</i>]:
+See what is here!</p>
+
+<p><i>Princess:</i> A baby hidden in a basket! Bring him
+to me!</p>
+
+<p class="blockquot">[<i>Third maid hands basket to</i> <span class="smcap">Princess</span>, <i>who takes the baby out.</i>]</p>
+
+<p><i>Princess:</i> Oh, what a beautiful baby! He is mine, for
+I have found him! A Hebrew baby! His mother has
+hidden him in the bulrushes to save his life.</p>
+
+<p class="blockquot">[<span class="smcap">Miriam</span> <i>runs out.</i>]</p>
+
+<p><i>Miriam:</i> Lady, would you like a nurse for that baby?</p>
+
+<p><i>Princess:</i> A nurse for him? Yes, I do need a nurse.</p><p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<p><i>Miriam:</i> I can get you one very quickly.</p>
+
+<p><i>Princess:</i> Go bring her, child; I will wait here.</p>
+
+<p class="blockquot">[<span class="smcap">Miriam</span> <i>goes away running.</i>]</p>
+
+<p><i>Princess:</i> He is my boy, and I will call him Moses, for
+I drew him out of the water.</p>
+
+<p class="blockquot">[<i>Enter the mother and</i> <span class="smcap">Miriam</span>.]</p>
+
+<p><i>Miriam:</i> Here is the nurse, lady.</p>
+
+<p><i>Princess:</i> Will you take good care of this baby for me
+until he becomes a youth? I will pay you wages. I am
+the Princess, King Pharaoh's daughter. I will see that he
+is educated as a prince in my father's court.</p>
+
+<p class="blockquot">[<span class="smcap">Princess</span> <i>and her maids go out.</i>]</p>
+
+<p><i>Mother:</i> My boy is saved! My boy is saved!</p>
+</div>
+
+
+
+<h4><a name="act_iii" id="act_iii"></a><span class="smcap">Act III</span></h4>
+
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Pharaoh's palace.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> King Pharaoh, Princess, Maids, Soldiers,
+Wise Men, Mother of Moses, Moses, Miriam, Aaron.</p>
+
+<p class="blockquot">[<i>King sits on his throne, wise men and soldiers around.
+Enter messenger.</i>]</p>
+
+<p><i>Messenger:</i> O King, the Princess awaits without and
+would have speech with thee.</p>
+
+<p><i>King:</i> Bid her enter.</p>
+
+<p class="blockquot">[<i>Enter</i> <span class="smcap">Princess</span> <i>and a few attendants.</i>]</p>
+
+<p><i>Princess:</i> O gracious King and father, I have a request,
+and I beg that you grant it.</p>
+
+<p><i>King:</i> Speak, my Princess; do I not always grant what
+you ask?</p>
+
+<p><i>Princess:</i> Yes, father, and I know that you will grant
+me this. Several years ago I adopted a son and I ask that
+you allow him to be educated in your palace.</p><p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+
+<p><i>King:</i> Adopted a son! What can be the meaning of
+this? I never heard of this! Where did you get the boy?</p>
+
+<p><i>Princess:</i> I found him, a little baby, hidden among the
+rushes by the river bank.</p>
+
+<p><i>King:</i> Why was he hidden? That is strange!</p>
+
+<p><i>Princess:</i> He is a Hebrew boy, O father.</p>
+
+<p><i>King:</i> A Hebrew boy! Did I not command that every
+Hebrew boy should be killed?</p>
+
+<p><i>Princess:</i> I must take the blame; I had his life spared.
+Will you not let him be brought here?</p>
+
+<p><i>King:</i> No, I will not! No Hebrew boy shall be brought
+here!</p>
+
+<p><i>Princess:</i> If you would only see him, he is so beautiful,
+you would love him as I do. He is without; permit me
+to show him to you.</p>
+
+<p><i>King:</i> Bring him in.</p>
+
+<p class="blockquot">[<i>Maid goes to get</i> <span class="smcap">Moses</span>. <span class="smcap">Moses</span> <i>enters with his mother</i>,
+<span class="smcap">Miriam</span>, <i>and</i> <span class="smcap">Aaron.</span> <span class="smcap">Princess</span> <i>leads him to the</i> <span class="smcap">King.</span>]</p>
+
+<p><i>Princess:</i> This is my son. Is he not a wonderful boy?</p>
+
+<p><i>King:</i> He is fair to look upon, but yet he is a Hebrew.</p>
+
+<p><i>Princess:</i> O my father, forget that he is a Hebrew and
+remember only that he is my son.</p>
+
+<p><i>King:</i> O my Princess, for your sake, I accept this boy.
+I leave his training to you. May he grow up to be a prince
+worthy of the house of Pharaoh.</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br /><br />
+
+THE DRAMATIZATION OF <i>RUTH</i></h2>
+
+
+<p><i>Ruth</i> was dramatized by the club during the fall
+of the year because it is a story of the Hebrew
+harvest time. In order fully to interpret the life
+of Ruth it was necessary for the children to secure
+information concerning the barley harvest in
+ancient Palestine, and also to become familiar with
+the old customs involved in the story. Many children
+brought pictures which illustrated the points
+under discussion, and some of them contributed by
+telling what they had been able to read at home.
+Independence on the part of the children in looking
+up data was always encouraged by the leader; the
+information which she had to give enriched and
+supplemented that which was brought in by them.</p>
+
+<p>During the process of this dramatization constant
+comparisons were made with our own harvest
+time, and the study of the Hebrew harvest feasts
+and festivals served to increase the understanding
+and appreciation of our one harvest festival at
+Thanksgiving.</p>
+
+<p>The method of procedure in presenting this story
+for dramatization follows closely that described in
+connection with <i>Joseph.</i> The Bible version of<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+<i>Ruth</i> is so simply and beautifully told that it
+needed very little adapting. When it was first
+given to the children parts of it were read and
+parts were told by the leader. Many scenes were
+then planned, but these were soon cut down to
+the three necessary scenes. From the first the
+children used much of the Bible language as they
+acted the story. The beauty and the poetry of
+it caused them to remember readily the exact
+wording in many cases.</p>
+
+<p>Seven meetings were required before the group
+was satisfied with the play as a product of their
+best effort. As was the case with the other plays
+given by the club, the children who were to take
+the parts in the final presentation were selected
+by the group and not by the leader in charge.
+Every child knew each part and could represent
+any character, but children were chosen for specific
+parts because they seemed to represent certain
+characters unusually well.</p>
+
+<p>The dramatization of this story called for much
+construction work. The reapers made their sickles
+of cardboard and covered them with gold or silver
+paper or painted them. They found pictures which
+gave the shape, and from these they cut the patterns
+(<a href="#fig15">Fig. 15</a>). One little girl brought a real sickle
+which had once belonged to a Filipino. It gave
+her happiness to reap with it, but the others were
+just as content to use the sickles from cardboard.</p>
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+
+<p>The need for a harvest song was felt, and in
+consequence a little song that most of the children
+knew was decided upon. The reapers sang it as
+they reaped and while Boaz was walking through
+his grain field. There was no real grain nor anything
+to represent it, the children deciding to leave
+this to the imagination. The action of the reapers
+and the words that were spoken gave evidence
+enough that grain was growing there.</p>
+
+<p>There was very little stage setting used in the
+play. The stage was bare in the first scene in order
+to represent the road from Moab to Bethlehem.
+In the second scene a big earthenware jar was
+needed from which the reapers could drink. The
+third scene required a box which represented a
+seat by the city gate; the door which led off the
+stage at the side was used for the gate.</p>
+
+<p>The action and the grouping of people in the
+third scene required careful planning by the children.
+Women came through the gate and passed
+down the street with water jugs on their shoulders;
+men gathered in groups to discuss bits of news;
+Boaz walked toward the gate and sat waiting for
+his kinsman. Finally, when the cousin appeared,
+Boaz hailed him and had him sit down. The
+citizens who were standing near were asked to be
+witnesses in this business transaction. That one
+man should take off his shoe and hand it to another
+was a custom that created much interest among the<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>
+children. They began to examine pictures for the
+kinds of shoes that were worn, and this led many of
+them to wear their own sandals, which approached
+most nearly to those seen in the pictures. The children
+who did not own sandals tried to make them
+with cardboard and strips of cloth (see <a href="#fig26">Fig. 26</a>).</p>
+
+<p>The costuming was very simple. The reapers
+wore the same little brown slips which had been
+worn in every play that had been given. Boaz
+enriched his costume by wearing brighter colors
+in his headdress and girdle and by wearing a slip
+that was longer than the others.</p>
+
+<p>The play follows as it was finally given.</p>
+
+
+<h3>RUTH</h3>
+
+
+<h4>SCENE I</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In Moab, on the road to Judah.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Naomi, Ruth, Orpah.</p>
+
+<p class="blockquot"><span class="smcap">Setting:</span> Naomi, Ruth, Orpah, are on the road going
+toward Judah.</p>
+
+<p class="blockquot">[<span class="smcap">Naomi</span> <i>stops and faces about.</i>]</p>
+
+<p><i>Naomi:</i> Turn back, my daughters-in-law; return each
+of you to your mother's house. You have come with me
+far enough. I must take the rest of my journey alone.</p>
+
+<p><i>Orpah and Ruth:</i> Oh, do not send us back! We will not
+leave thee!</p>
+
+<p><i>Naomi:</i> Yea, you must leave me now. I am going
+home to my own country and my own people, to Bethlehem,
+Judah! It is ten long years since I left there to come to
+dwell in your land of Moab. But now that the famine is
+over I must return.</p><p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+<p><i>Orpah:</i> But, Naomi, our mother-in-law, we love thee.
+Do not thou leave us!</p>
+
+<p><i>Naomi:</i> I must go. I came to this country happy&mdash;with
+my husband and two sons&mdash;but misfortune has dealt
+bitterly with me. My husband first died, and now my two
+sons, your husbands, are taken from me. I am old and sad.
+I have no one left to comfort me. I must go back to mine
+own people. Leave me, my daughters, and God bless you!</p>
+
+<p class="blockquot">[<i>Both daughters weep.</i>]</p>
+
+<p><i>Orpah</i> [<i>weeping and kissing</i> <span class="smcap">Naomi</span>]: If thou wilt be
+happier, then thou must leave us. I will return to my
+mother's house as thou sayest. [<i>She goes off slowly, weeping.</i>]</p>
+
+<p class="blockquot">[<span class="smcap">Ruth</span> <i>still stands by weeping. Takes hold of</i>
+<span class="smcap">Naomi's</span> <i>hand.</i>]</p>
+
+<p><i>Naomi:</i> Behold, Orpah, thy sister-in-law, has gone
+back to her people and unto her gods; return thou after thy
+sister-in-law.</p>
+
+<p><i>Ruth:</i> Intreat me not to leave thee, nor to return from
+following after thee: for whither thou goest, I will go;
+and where thou lodgest, I will lodge; thy people shall be
+my people, and thy God my God: where thou diest, will
+I die, and there will I be buried: the Lord do so to me, and
+more also, if aught but death part thee and me.</p>
+
+<p><i>Naomi:</i> Since thou art so steadfastly minded to go with
+me, Ruth, I will cease urging thee. Come, thou mayest
+go with me to Bethlehem.</p>
+</div>
+
+<h4>SCENE II</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In the barley fields of Boaz.</p>
+
+<p class="blockquot"><span class="smcap">Time:</span> The harvest season.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Boaz, Ruth, Head Reaper, Reapers,
+Gleaners.</p>
+
+
+<p class="blockquot">[<i>The reapers come in with their sickles, followed by
+the gleaners.</i>]</p>
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+
+<p><i>Head Reaper:</i> Truly we have a wonderful harvest this
+year!</p>
+
+<p><i>First Reaper:</i> Yea, we will have food enough for ourselves
+and for all the poor in our city of Bethlehem.</p>
+
+<p><i>Head Reaper:</i> It is the great God that hath given us
+this bounty.</p>
+
+<p class="blockquot">[<i>All sing harvest song as they reap. While they are singing</i>
+<span class="smcap">Ruth</span> <i>comes in and begins to pick up the grain.</i>]</p>
+
+<p><i>Second Reaper</i> [<i>looking toward the entrance to the field</i>]:
+The master is coming, the great Boaz!</p>
+
+<p class="blockquot">[<i>All reapers look in that direction as they stand, resting their
+sickles on the ground.</i> <span class="smcap">Boaz</span> <i>enters.</i>]</p>
+
+<p><i>Boaz:</i> The Lord be with you!</p>
+
+<p><i>Reapers:</i> The Lord bless thee!</p>
+
+<p class="blockquot">[<i>All go to work again, singing as before.</i> <span class="smcap">Boaz</span> <i>walks among
+them; he sees</i> <span class="smcap">Ruth</span> <i>and watches her.</i>]</p>
+
+<p><i>Boaz</i> [<i>to the</i> <span class="smcap">Head Reaper</span>]: My good man, I would
+speak a word with thee; come hither.</p>
+
+<p><i>Head Reaper:</i> Speak, O master!</p>
+
+<p><i>Boaz:</i> Whose damsel is this that gathereth grain after
+the reapers?</p>
+
+<p><i>Head Reaper:</i> My master, she is Ruth, the Moabitish
+damsel that came back with Naomi, thy kinswoman. She
+hath been gleaning here since early morning.</p>
+
+<p><i>Boaz:</i> Go, bid the reapers not to harm her, and bid
+them let fall purposely some of the handfuls of grain for her.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Head Reaper</span> <i>bows low and goes back among the reapers.</i>]</p>
+
+<p><i>Boaz</i> [<i>to</i> <span class="smcap">Ruth</span>]: Hearest thou not, my daughter? Go
+not to glean in another field, but stay here by my reapers.
+Let thine eyes be on the reapers, and do thou glean that
+which they leave behind. When thou art athirst, go unto
+the vessels and drink that which the young men have drawn.</p>
+<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+
+<p><i>Ruth</i> [<i>bows to the ground</i>]: Why have I found such favor
+in thine eyes, seeing that I am a stranger in the land?</p>
+
+<p><i>Boaz:</i> It has been told me of thy great kindness to thy
+mother-in-law, Naomi; how thou didst leave thine own
+people to come with her and be among strangers; and how
+thou didst leave thy gods to take the God of the children
+of Israel. The Lord will bless thee for this.</p>
+
+<p><i>Ruth:</i> I thank thee, O great Boaz, for thou hast comforted
+me and thou hast spoken friendly words unto me.</p>
+
+<p><i>Boaz:</i> Come hither at meal times and eat of the bread
+and dip thy morsel in the vinegar with my reapers.</p>
+
+<p class="blockquot">[<i>The reapers have departed.</i> <span class="smcap">Boaz</span> <i>goes off.</i>]</p>
+
+<p><i>Ruth:</i> The Lord God is truly good unto me!</p>
+</div>
+
+<h4>SCENE III</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> At the gate of the city.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Boaz, a Cousin of Naomi, Ten Citizens,
+Ruth, Naomi.</p>
+
+<p class="blockquot">[<i>Several citizens stand in groups, talking.</i> <span class="smcap">Boaz</span> <i>enters</i>.]</p>
+
+<p><i>Boaz</i> [<i>speaks to one of the group</i>]: Hast thou seen my
+cousin pass this way? I am seeking him.</p>
+
+<p><i>First Citizen:</i> Nay, good sir, I have not seen him.</p>
+
+<p><i>Boaz:</i> I must speak with him; I will wait here by the
+city gate; perchance he will come soon.</p>
+
+<p class="blockquot">[<i>One or two citizens pass by and speak to</i> <span class="smcap">Boaz,</span> <i>saying,
+"Good-day, sir." Enter</i> <span class="smcap">Kinsman</span>.]</p>
+
+<p><i>Boaz:</i> Ho, Kinsman, turn aside! I would have a word
+with thee. Sit thee down.</p>
+
+<p class="blockquot">[<span class="smcap">Kinsman</span> <i>sits down.</i>]</p>
+
+<p><i>Kinsman:</i> What wilt thou, Cousin?</p>
+
+<p><i>Boaz:</i> I would speak about a matter of importance;
+wait thou here until I can bring witnesses. [<i>He turns to<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+citizens.</i>] A piece of land is about to be sold; will ten
+citizens witness this deed?</p>
+
+<p><i>Citizens:</i> Aye, indeed. [<i>They come forward.</i>]</p>
+
+<p><i>Boaz:</i> Sit ye down here. [<i>They sit down.</i>] [<i>To</i>
+<span class="smcap">Kinsman</span>]: Dost thou remember Naomi, our kinswoman,
+who went with her husband and two sons to the land of
+Moab?</p>
+
+<p><i>Kinsman:</i> Yea, I do know Naomi.</p>
+
+<p><i>Boaz:</i> She selleth a parcel of land which was her husband's.
+Now, thou art nearest of kin to Naomi, so I
+thought to advise thee that thou mayest have the first
+chance to redeem the land in the presence of the elders of
+the city. If thou dost not care to redeem it, then the right
+to redeem it cometh to me, for I am next of kin. What
+wilt thou do?</p>
+
+<p><i>Kinsman:</i> I will buy the land from our kinswoman,
+Naomi.</p>
+
+<p><i>Boaz:</i> On the day that thou buyest the field from the
+hand of Naomi, thou also takest Ruth, the Moabitess, for
+thy wife, according to our custom and law.</p>
+
+<p><i>Kinsman:</i> Then I will not redeem the land, for I cannot
+take Ruth for my wife. Take thou my right to redeem it
+and buy it for thyself.</p>
+
+<p><i>Boaz</i> [<i>taking off his shoe and giving it to the</i> <span class="smcap">Kinsman</span>, <i>he
+says to the witnesses</i>]: Ye are witnesses this day that I
+have bought this parcel of land from Naomi and that I buy
+also, as my wife, Ruth, the daughter-in-law of Naomi. Of
+all this ye are witnesses.</p>
+
+<p><i>Citizens:</i> We are witnesses. [<i>Bow.</i>]</p>
+
+<p class="blockquot">[<span class="smcap">Kinsman</span> <i>returns shoe to</i> <span class="smcap">Boaz</span> <i>and walks off.</i> <span class="smcap">Ruth</span> <i>and</i>
+<span class="smcap">Naomi</span> <i>come through the street.</i>]</p>
+
+<p><i>Boaz:</i> Ye are well met, Naomi, my kinswoman, and
+Ruth. I have good news for you; I have bought your land<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+and I can now take Ruth for my wife. Come, all ye fellow-citizens,
+for the wedding feast is prepared at my house!</p>
+
+<p class="blockquot">[<i>Takes</i> <span class="smcap">Ruth</span> <i>by the hand.</i>]</p>
+
+<p><i>Naomi:</i> Blessed am I that I should live to see this good
+thing come to pass! The Lord hath been most gracious
+unto me!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<br /><br />
+
+THE DRAMATIZATION OF <i>QUEEN ESTHER</i></h2>
+
+
+<p>The story of Esther involves a much more complicated
+situation than any of the others here
+described. It is not too difficult for dramatization,
+however, if it is taken after such stories
+have been worked out as <i>David and Goliath</i> and
+<i>Joseph.</i></p>
+
+<p>In the case of this dramatic club the story of
+Esther was told to the children after they had had
+much experience with other plays. The interesting
+plot and the beauty and richness of the court
+made so great an appeal to them that they were
+eager to begin the dramatization. The story was
+first simplified and adapted by the leader, and then
+told in such a manner as to emphasize the main
+events. The method of procedure followed that described
+in <a href="#CHAPTER_III">chapter iii</a> in connection with the story
+of Joseph. After the telling of the story the scenes
+were selected. These were acted out very freely
+at first, little thought being given to the words.
+Many pictures were brought in, and descriptions
+of the court of King Ahasuerus were read by the
+children from the Bible and from books of Bible
+stories.</p><p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+
+<p>In the second scene the children decided to have
+the maidens dance before the King. Several little
+girls who were trying out the part of Esther made
+up dances for themselves. This feature made this
+scene especially attractive.</p>
+
+<p>This play was longer than those that had previously
+been dramatized, and it therefore took a
+longer period of time to bring it into final shape.
+There is no reason to hurry a dramatization. If
+the aim of this kind of work is kept in mind, there
+will be growth on the part of the children at each
+meeting. The value lies, not in how many stories
+can be dramatized during a year, but in how
+thoroughly the children are reliving a few good
+stories.</p>
+
+<p>The play of <i>Queen Esther</i> made it necessary to
+construct several articles. Gold dishes of various
+kinds were made by covering cardboard with gold
+paper. These were used at the Queen's banquet.
+From the many scepters that were submitted the
+King chose the one for final use. Elaborate gowns
+and headdresses were gathered; beads and jewels
+of all descriptions were made from brilliantly
+colored papers.</p>
+
+<p>The children took the responsibility of the costuming.
+The majority of them planned their own
+garments and either brought things from home or
+selected some suitable costume from those which
+the club had on hand. Two of the older girls<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>
+took entire charge of the younger ones and saw
+to it that each had some simple slip to wear in
+the play.</p>
+
+<p>The play follows as it was finally worked out by
+the children.</p>
+
+
+
+
+<h3>THE STORY OF QUEEN ESTHER</h3>
+
+
+<h4>SCENE I</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The King's palace&mdash;Shushan.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> King Ahasuerus (king of Media and
+Persia), Haman (chief counselor), Persian Princes,
+Servants.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">King</span> <i>is seated on his throne, princes seated before the</i>
+<span class="smcap">King</span>, <i>and</i> <span class="smcap">Haman</span> <i>is seated by the</i> <span class="smcap">King's</span> <i>side.</i>
+<i>Servants are bringing drinks in golden vessels.</i>]</p>
+
+<p><i>King:</i> The seventh day of this feast hath come, and
+on this day will I bring my beautiful Queen, Vashti, before
+you. The princes of my land must depart, bearing a good
+report of my fair Queen as well as of the great riches of my
+court. Chamberlains, come forth! [<i>The servants come
+before the</i> <span class="smcap">King</span> <i>and bow.</i>] I command you to bring Vashti,
+the Queen, before my presence. [<i>Servants withdraw.</i>]</p>
+
+<p><i>First Prince:</i> O King, this is a great honor that thou
+bestowest upon us!</p>
+
+<p><i>Second Prince:</i> Yea, Vashti, the Queen, is already
+known over the land for her wondrous beauty. We are
+most happy that thou wilt allow thy servants to behold her.</p>
+
+<p><i>Third Prince:</i> What wonderful tidings we will spread
+over thy provinces, O King. Thy people do not know the
+half of thy riches and thy wonderful greatness and generosity.</p>
+
+<p class="blockquot">[<i>Enter servants. They bow low.</i>]</p>
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+
+<p><i>King:</i> Rise; what is thy message?</p>
+
+<p class="blockquot">[<i>They do not rise.</i>]</p>
+
+<p><i>First Servant:</i> O King, be merciful unto us!</p>
+
+<p class="blockquot">[<i>They bow lower.</i>]</p>
+
+<p><i>King:</i> What meaneth this? Speak! [<i>in astonishment</i>]
+I command thee. Where is the Queen?</p>
+
+<p><i>Second Servant:</i> O great King, we delivered thy message
+as thou didst command, but the Queen has refused
+to come before thy presence.</p>
+
+<p class="blockquot">[<i>All the princes and the</i> <span class="smcap">King</span> <i>show surprise and
+anger.</i>]</p>
+
+<p><i>King:</i> Refused to obey me? This is impossible! Are
+ye certain that she understood the meaning of my command?</p>
+
+<p><i>Servants:</i> We are, O King.</p>
+
+<p><i>King:</i> She hath refused! It cannot be! [<i>He looks
+absently away.</i>] She must be punished.</p>
+
+<p><i>Haman:</i> What shall we do to Queen Vashti according
+to the law, because she hath not performed the commandment
+of King Ahasuerus?</p>
+
+<p><i>First Prince:</i> She hath not done wrong to the King
+only, but also to all the princes of the land, for this deed of
+the Queen shall become known unto all the women of Media
+and Persia and they shall despise the command of their
+husbands: "Because," they shall say, "King Ahasuerus
+commanded Vashti, the Queen, to be brought before him
+and she came not."</p>
+
+<p><i>Second Prince:</i> What shall we do? This will cause
+great trouble and disobedience.</p>
+
+<p><i>King:</i> What thinkest thou, Haman, my chief counselor?</p>
+
+<p><i>Haman:</i> If it please the King, let there go forth a royal
+commandment and let it be written among the laws of the
+Medes and Persians that Vashti come no more before
+Ahasuerus, and let the King give her royal estate to another<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+that is better than she. Then when this decree shall become
+known all wives shall give honor unto their husbands.</p>
+
+<p><i>King:</i> This saying pleaseth me greatly. I shall do
+accordingly. [<i>To servants</i>]: Send letters unto every
+province to every people, which shall state this decree, so
+that every man shall know it.</p>
+
+<p><i>Haman:</i> O King, I pray thee, let there be fair maidens
+brought before thee from which thou shalt choose another
+which shall be thy Queen.</p>
+
+<p><i>King:</i> So be it! See that fair maidens from every
+province be brought here to my palace; and the one that
+pleaseth me best, I will take her for my Queen.</p>
+
+<p class="blockquot">[<i>All bow.</i>]</p></div>
+
+
+<h4>SCENE II</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> At Shushan, the palace.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> King Ahasuerus, Mordecai, Maidens,
+Haman, Servants, Courtiers.</p>
+
+<p class="blockquot">[<i>Two servants are standing in the court room of the palace.
+Enter a messenger followed by</i> <span class="smcap">Esther</span> <i>and</i> <span class="smcap">Mordecai</span>.]</p>
+
+<p><i>Messenger</i> [<i>announces to the servants in the room</i>]: This
+maiden has come to see the King.</p>
+
+<p class="blockquot">[<i>He goes out.</i>]</p>
+
+<p><i>First Servant:</i> This is the place. Wait thou here.
+[<i>To</i> <span class="smcap">Mordecai</span>]: What art thou here for? Thou wilt have
+to depart.</p>
+
+<p><i>Mordecai:</i> I only brought this maiden. I beg of thee
+let me have a few words with her; then I will withdraw.</p>
+
+<p><i>First Servant:</i> Speak then quickly, before the King
+cometh.</p>
+
+<p class="blockquot">[<i>Servants withdraw to another part of the room.</i>]</p></div>
+<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig3" id="fig3"></a>
+<img src="images/i_087.jpg" width="600" height="343" alt="Fig. 3.&mdash;Esther and Mordecai" title="Fig. 3.&mdash;Esther and Mordecai"/>
+<span class="caption"><span class="smcap">Fig. 3.</span>&mdash;Esther and Mordecai</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+
+<div class="blockquot"><p><i>Mordecai</i> [<i>taking</i> <span class="smcap">Esther's</span> <i>hand</i>]: Esther, my child,
+thou art like my very child, for although I am but thy
+uncle I have been as a father to thee. I bid thee farewell
+now, for it seemeth to me that the King will surely choose
+thee to be his Queen&mdash;thou art so fair. This one thing
+remember, tell him not that thou art a Jewess. Fare thee
+well, Esther! May the Lord bless thee!</p>
+
+<p><i>Esther:</i> Farewell to thee, Mordecai!</p>
+
+<p class="blockquot">[<span class="smcap">Mordecai</span> <i>goes out. Other maidens come in announced by
+the messenger.</i>]</p>
+
+<p><i>Messenger:</i> These maidens would see the King.</p>
+
+<p class="blockquot">[<i>The servants show them where to sit. Enter second
+messenger.</i>]</p>
+
+<p><i>Second Messenger:</i> The King! The King!</p>
+
+<p class="blockquot">[<i>Enter</i> <span class="smcap">King</span> <i>and</i> <span class="smcap">Haman</span>. <span class="smcap">King</span> <i>sits on his throne.</i>]</p>
+
+<p>Second Servant [<i>bowing before the</i> <span class="smcap">King</span>]: O King, the
+maidens from all parts of the country have arrived and
+await thy pleasure.</p>
+
+<p><i>King:</i> Let them come before my presence one at a
+time, and I will choose from among them the one that
+seemeth most fair.</p>
+
+<p class="blockquot">[<i>The musicians begin playing and, one by one, the maidens
+come out. They bow and dance.</i> <span class="smcap">Esther</span> <i>comes last of
+all. As</i> <span class="smcap">Esther</span> <i>dances the</i> <span class="smcap">King</span> <i>speaks.</i>]</p>
+
+<p><i>King:</i> What marvelous beauty! Surely this maiden
+is fair enough to be my Queen.</p>
+
+<p><i>Haman:</i> Yea, O King, thou art right; she should be
+thy Queen.</p>
+
+<p><i>King</i> [<i>takes</i> <span class="smcap">Esther's</span> <i>hand</i>]: What is thy name, fair
+maid?</p>
+
+<p><i>Esther:</i> My name is Esther, O King.</p>
+
+<p><i>King:</i> Esther, I do here take thee to be my Queen.
+Bring the royal crown and the Queen's robes!</p>
+
+<p class="blockquot">[<i>Servants come immediately and put them on her.</i>]</p>
+<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig4" id="fig4"></a>
+<img src="images/i_089.jpg" width="600" height="345" alt="Fig. 4.&mdash;Esther dances before the king" title="Fig. 4.&mdash;Esther dances before the king"/>
+<span class="caption"><span class="smcap">Fig. 4.</span>&mdash;Esther dances before the king</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<p><i>King</i> [<i>leading</i> <span class="smcap">Esther</span> <i>out</i>]: Come unto the wedding
+feast which is now prepared. All are welcome!</p>
+</div>
+
+<h4>SCENE III</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The palace gate.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Haman, Mordecai, Servants, Esther.</p>
+
+<p class="blockquot">[<i>Servants are standing and walking by the gate. Women
+come by carrying water jars.</i> <span class="smcap">Mordecai</span> <i>stands apart
+from the crowd.</i> <span class="smcap">Herald</span> <i>comes in.</i>]</p>
+
+<p><i>Herald:</i> Bow the knee, bow the knee. The chief
+counselor, Haman, approacheth! Thus saith the King.</p>
+
+<p class="blockquot">[<span class="smcap">Haman</span> <i>comes in. All bow to him except</i> <span class="smcap">Mordecai</span>.]</p>
+
+<p><i>Haman</i> [<i>pointing to</i> <span class="smcap">Mordecai</span>]: Who is this man who
+doth not bow the knee to me?</p>
+
+<p><i>First Servant:</i> He is Mordecai, the Jew, my lord. [<i>To</i>
+<span class="smcap">Mordecai</span>]: Why dost thou break the King's commandment?</p>
+
+<p><i>Haman:</i> Thou Jew! Dost thou think that thou art
+mightier than I, whom the King hath set above all the
+princes of the land? Thou shalt suffer for this. [<i>Turns to
+servant.</i>] Send letters unto all the King's provinces, to
+destroy, to kill, and to cause to perish all Jews, both young
+and old, little children and women, in one day&mdash;even upon
+the thirteenth day of the twelfth month, and to take the
+spoil of them for prey.</p>
+
+<p class="blockquot">[<i>Servant bows and goes away.</i> <span class="smcap">Haman</span> <i>passes on, leaving</i>
+<span class="smcap">Mordecai</span> <i>with two servants.</i> <span class="smcap">Mordecai</span>, <i>in deep
+thought, walks anxiously up and down.</i>]</p>
+
+<p><i>Mordecai:</i> I must see Queen Esther. Canst thou not
+take me to the Queen?</p>
+
+<p><i>Second Servant</i> [<i>laughing scornfully</i>]: Thinkest thou that
+the Queen will see thee?</p>
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+
+<p><i>Mordecai:</i> Give the Queen this paper and say to her
+that I, Mordecai, the Jew, bid her come to me.</p>
+
+<p class="blockquot">[<i>Servant withdraws.</i>]</p>
+
+<p><i>Mordecai</i> [<i>walking, talks to himself</i>]: Israel, O Israel,
+my people! You shall not perish. Esther, your Queen,
+will save you.</p>
+
+<p class="blockquot">[<i>Enter</i> <span class="smcap">Esther.</span>]</p>
+
+<p><i>Esther:</i> Mordecai, my uncle, why art thou here?
+Thou lookest unhappy. Hath aught happened to thee?</p>
+
+<p><i>Mordecai:</i> Yea, Esther, I am unhappy. I have sorrowful
+news to tell thee.</p>
+
+<p><i>Esther:</i> Chamberlains, withdraw! Speak, Mordecai;
+tell me quickly. It may be that I can help thee.</p>
+
+<p><i>Mordecai:</i> Esther, thou canst help me, and thou art
+the only one who can. Haman, the King's counselor,
+hateth the Jews&mdash;thy people and mine. He hath sent a
+decree over all the country commanding that every Jew,
+both old and young, little children and women, be killed
+on the thirteenth day of the twelfth month. Esther, thou
+must save thy people and thyself? Thou must go before
+the King and beg of him that he spare thy people.</p>
+
+<p class="blockquot">[<span class="smcap">Esther</span> <i>shows great distress.</i>]</p>
+
+<p><i>Esther:</i> Oh, what shall I do? Dost thou not know that
+for one who dareth to go before the presence of the King,
+if the King hath not called him, there is certain death;
+except to whom the King shall hold out the golden scepter&mdash;he
+may live? I have not been called to come in unto the
+King these thirty days. He will surely put me to death
+for such boldness.</p>
+
+<p><i>Mordecai:</i> Thou must go unto the King even so.
+Think not that thou wilt escape death from Haman because
+thou art in the King's house. Who knoweth but that thou
+hast been made Queen for such a time as this!</p><p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
+
+<p><i>Esther</i> [<i>after thinking deeply</i>]: Go, gather together all
+the Jews that are present in Shushan, and fast ye for me,
+and neither eat nor drink for three days, night or day,
+I also and my maidens will fast likewise&mdash;and so I will go
+in unto the King, which is not according to the law, and if
+I perish, I perish.</p>
+
+<p><i>Mordecai:</i> May the Lord go with thee!</p>
+</div>
+
+<h4>SCENE IV</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In the court of the King's palace.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> King Ahasuerus, Esther, Haman, Courtiers,
+Servants.</p>
+
+<p class="blockquot">[<i>The King sits on his throne.</i> <span class="smcap">Queen Esther</span> <i>enters and
+bows before the</i> <span class="smcap">King.</span> <i>The</i> <span class="smcap">King</span> <i>looks at her
+in astonishment.</i>]</p>
+
+<p><i>Courtiers</i> [<i>in loud whispers</i>]: The Queen! It is the Queen!</p>
+
+<p><i>King:</i> Esther, hast thou dared to come before my
+presence when I have not called thee? Thou surely dost
+not know what thou art doing! This act of boldness can
+mean thy death! But thou art so beautiful, Esther, I
+cannot be hard with thee. Rise! [<i>He holds out the golden
+scepter.</i>] What is the request that has brought thee here?
+It shall be given thee, even though it be half of my kingdom.</p>
+
+<p class="blockquot">[<span class="smcap">Esther</span> <i>touches the scepter and rises.</i>]</p>
+
+<p><i>Esther:</i> If it seemeth good unto the King, let the King
+and Haman come this day unto the banquet that I have
+prepared for them.</p>
+
+<p class="blockquot">[<i>She turns and goes out.</i>]</p>
+
+<p><i>King:</i> Hearest thou, Haman? Make haste and let
+us do as Esther hath said. Come, we will prepare for this
+banquet.</p>
+
+<p class="blockquot">[<span class="smcap">Haman</span> <i>bows. The</i> <span class="smcap">King</span> <i>and</i> <span class="smcap">Haman</span> <i>go out. Others
+follow.</i>]</p></div>
+<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig5" id="fig5"></a>
+<img src="images/i_093.jpg" width="600" height="345" alt="Fig. 5.&mdash;The king holds out the scepter to Esther" title="Fig. 5.&mdash;The king holds out the scepter to Esther"/>
+<span class="caption"><span class="smcap">Fig. 5.</span>&mdash;The king holds out the scepter to Esther</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p>
+
+<h4>SCENE V</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The Queen's apartment.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Queen Esther, King Ahasuerus, Haman,
+Servants, Mordecai.</p>
+
+<p class="blockquot">[<i>The servants are preparing the feast. Enter</i> <span class="smcap">Esther</span>.]</p>
+
+<p><i>Esther:</i> See ye that the feast is in readiness, for the
+King will soon arrive.</p>
+
+<p class="blockquot">[<i>Servants bow.</i>]</p>
+
+<p><i>Servant:</i> The King cometh!</p>
+
+<p><i>Esther</i> [<i>going to meet the</i> <span class="smcap">King</span> <i>as he enters</i>]: Welcome,
+my lord!</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">King</span> <i>sits upon a throne prepared for him.</i>]</p>
+
+<p><i>King:</i> I am happy to be with thee, my fair Queen.
+Thou must have a request which thou desirest to make&mdash;speak,
+be not afraid. I will grant it though it be half of
+my kingdom.</p>
+
+<p><i>Esther:</i> If I have found favor in thy sight, O King,
+and if it please the King, let my life be saved and the lives
+of my people&mdash;the Hebrew people. We are to be destroyed,
+to be slain and to perish.</p>
+
+<p><i>King:</i> Thy people? The Hebrew people? Who is
+this and where is he that dareth in his heart to do this
+thing to thy people?</p>
+
+<p><i>Esther:</i> The enemy is thy chief counselor, this wicked
+Haman.</p>
+
+<p><i>King:</i> Did Haman do this deed? How didst thou
+know of his plan?</p>
+
+<p><i>Esther:</i> O King, Mordecai, the Jew, my uncle, hath
+shown me the letter which Haman hath sent over the
+country. The Jews are to be killed on the thirteenth day
+of the twelfth month. I am begging thee for my life and
+for the lives of my people!</p>
+<p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig6" id="fig6"></a>
+<img src="images/i_095.jpg" width="600" height="346" alt="Fig. 6.&mdash;Queen Esther pleads for her people" title="Fig. 6.&mdash;Queen Esther pleads for her people"/>
+<span class="caption"><span class="smcap">Fig. 6.</span>&mdash;Queen Esther pleads for her people</span>
+</div>
+<p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+
+<p><i>King:</i> Fear not, Esther; thy people shall be saved.
+Mordecai, the Jew, hath once done me a great service. He
+hath not been rewarded for this. He shall have honor, for
+he deserveth it.</p>
+
+<p><i>Servant:</i> The great Haman hath come, O Queen.</p>
+
+<p class="blockquot">[<span class="smcap">Haman</span> <i>enters; they seat themselves, and the feast is served.</i>]</p>
+
+<p><i>King:</i> Haman, what shall be done unto the man whom
+the King delighteth to honor?</p>
+
+<p><i>Haman</i> [<i>aside</i>]: Whom would the King like to honor
+more than myself? [<i>To the</i> <span class="smcap">King</span>]: For the man whom
+the King delighteth to honor, let the royal apparel be
+brought which the King useth to wear, and the horse which
+the King rideth upon, and the royal crown which is set
+upon his head; and let these be given the man whom the
+King delighteth to honor; and let him ride on horseback
+through the streets of the city; and proclaim before him,
+"Thus it shall be done unto the man whom the King
+delighteth to honor!"</p>
+
+<p><i>King:</i> Make haste and take the royal apparel and the
+horse as thou hast said and do even so unto Mordecai, the
+Jew, that sitteth at the King's gate. Let nothing fail of
+all that thou hast spoken.</p>
+
+<p class="blockquot">[<span class="smcap">Haman</span> <i>bows his head low and goes out to</i> <span class="smcap">Mordecai</span>.]</p>
+
+<p><i>Servant:</i> O King, Haman hath built a gallows upon
+which to hang Mordecai, the Jew, this day.</p>
+
+<p class="blockquot">[<span class="smcap">Haman</span> <i>returns with</i> <span class="smcap">Mordecai</span> <i>and puts on the crown, etc.</i>]</p>
+
+<p><i>King:</i> Let him who hath made the gallows hang upon it!</p>
+
+<p class="blockquot">[<i>Servant takes</i> <span class="smcap">Haman</span> <i>out.</i>]</p>
+
+<p><i>King:</i> Come near, Mordecai. Thou hast found great
+favor in mine eyes. From henceforth thou shalt be my
+chief counselor, and thou shalt rule the land in Haman's
+place. Thy people shall be spared, and letters shall be<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+sent over all the land and into every province which shall
+state that the Hebrew people shall not be destroyed, but
+instead they shall be honored and have joy and feasting.</p>
+
+<p><i>Mordecai:</i> I thank thee, O King and Esther, my Queen,
+for the great deliverance and for this great honor to me.
+May the Lord give me strength to deal wisely with these
+peoples.</p>
+
+<p><i>Esther:</i> This is a great happiness which thou hast
+bestowed upon me, O King.</p>
+</div>
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<br /><br />
+
+THE DRAMATIZATION OF <i>ABRAHAM AND THE
+THREE GUESTS</i></h2>
+
+
+<p>This incident should be simplified and adapted
+before it is told to children. The dramatization
+is best worked out in the form of a short, free play
+which involves only one act. It is unnecessary
+to carry it to the point of fixed words and actions.
+The emphasis should be placed upon the customs
+of the times which are so well brought out in the
+story; for example, the hospitality of Abraham
+to the strangers represents the feeling toward
+strangers among the nomad peoples, and the manner
+in which he showed his hospitality makes
+children acquainted with customs peculiar to those
+people. There is excellent opportunity here for
+enriching the children's understanding of the life
+of a shepherd people, of which the Israelites are
+an example.</p>
+
+<p>Descriptions and pictures of the kind of tent the
+people lived in are necessary. It is important that
+children should get the idea of the correct shape
+of the Arab tent and not confuse it with the Indian
+wigwam. No stage scenery need be used; it is
+best to leave that to the imagination. A curtain<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
+may be put up to represent the front of the tent,
+but nothing more.</p>
+
+<p>There is much of this incident that should be
+left out in the telling; by no means should it be
+read directly from the Bible to children. The
+story may be told so that the following points are
+emphasized:</p>
+
+<p>Abraham is sitting at the door of his tent.
+Three men appear; he runs to meet them and bows
+to the ground. He invites them to rest under the
+shade of the tree and offers to get food and to have
+their feet washed. The strangers sit and talk
+together, then Abraham comes with the food.
+They all eat and are rested, and as they rise to
+depart they ask for Sarah, Abraham's wife. The
+strangers tell Sarah and Abraham that they are
+to have a son whose name shall be Isaac and whom
+God shall bless and who shall be the father of many
+people. Abraham and Sarah are greatly astonished
+and pleased. They fall upon their knees to thank
+God, and when they arise they find that the
+strangers have departed. The scene closes with
+their exclamation, "Surely these were angels from
+the Lord who have visited us!"</p>
+
+<p>This story was dramatized by the children of the
+dramatic club after they had had experience with
+many other dramatizations. During the first hour
+after the story was told the children succeeded in
+getting the play into very nearly its final form.<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+Two of the older girls, undertaking to write out the
+scenes as they thought they should be, brought in
+their versions at the second meeting. Each one
+was read aloud, the other children being asked to
+remember the parts that seemed especially good.
+Then by combining, adding to, or taking from, a
+composite result was obtained. Several children
+wrote down the final decisions at the dictation of
+the group.</p>
+
+<p>Below is given the version which one child
+worked out by herself, and following that is the
+final form of the play which the group as a whole
+decided upon. The leader purposely left this play
+entirely in the hands of the children; the product
+is wholly their own.</p>
+
+
+<h3>THE PLAY EXACTLY AS ONE CHILD WROTE IT</h3>
+
+<div class="blockquot">
+<p><i>Abraham:</i> The day is hot and I am weary. I will rest
+myself from the heat of the day. [<i>He seats himself in the
+shade of the tent.</i>]</p>
+
+<p><i>Sarah:</i> It is indeed hot, and I will bring thee food and
+drink that thou mayest refresh thyself. [<span class="smcap">Sarah</span> <i>retires into
+the tent.</i>]</p>
+
+<p><i>Abraham</i> [<i>rises to his feet and shades his eyes with his
+hands</i>]: Sarah, come hither! Yonder are strangers who
+are in need of rest. [<span class="smcap">Sarah</span> <i>comes out, and she and</i> <span class="smcap">Abraham</span>
+<i>kneel before them.</i>] Welcome, strangers, seat yourselves that
+ye may rest. My wife, Sarah, will bring you food, and
+water that you may wash your feet.</p>
+
+<p><i>First Stranger:</i> The Lord bless thee, Abraham.
+[<i>Sarah</i> <i>and the servants withdraw, and</i> <span class="smcap">Abraham</span> <i>and the<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+three men seat themselves before the tent.</i> <span class="smcap">Sarah</span> <i>returns with
+water and food. The strangers wash their feet and eat.</i>]</p>
+
+<p><i>Sarah</i> [<i>offering them food</i>]: Drink thou this fresh milk,
+and refresh thyself with this fruit, for ye look weary.
+[<i>They finish eating and</i> <span class="smcap">Sarah</span> <i>and the servants retire.</i>]</p>
+
+<p><i>Second Stranger:</i> We bring thee good tidings and would
+speak with thee and thy wife. [<span class="smcap">Sarah</span> <i>comes from within
+the tent.</i>]</p>
+
+<p><i>Third Stranger:</i> We are messengers from the Lord to
+tell thee that thou wilt have a son.</p>
+
+<p><i>First Stranger:</i> He will be the father of many men and
+thousands will respect him. Ye shall name him <span class="smcap">Isaac</span>.</p>
+
+<p><i>Sarah:</i> That cannot come to pass! For many years
+I have been childless, and the Lord will not give me a son.</p>
+
+<p><i>Abraham</i> [<i>falling on his knees</i>]: Thanks be to the Lord!
+A son at last!</p>
+
+<p><i>Sarah:</i> Can it be that these tidings are true? If so,
+it is indeed a message from the Lord! [<i>She too falls on her
+knees before them. The three men quietly leave, and when</i>
+<span class="smcap">Sarah</span> <i>and</i> <span class="smcap">Abraham</span> <i>rise to their feet they are out of sight.</i>]</p>
+
+<p><i>Abraham:</i> They were angels from heaven! Our wish
+has been granted at last!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+<p>The following is the play as it was finally
+presented:</p>
+
+
+<h3>ABRAHAM AND THE THREE GUESTS</h3>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In front of the tent of Abraham.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Abraham, a Shepherd; Sarah, His Wife;
+Three Strangers; Four Servants.</p>
+
+<p class="blockquot">[<span class="smcap">Abraham</span> <i>and</i> <span class="smcap">Sarah</span> <i>come out of the tent.</i>]</p>
+
+<p><i>Abraham:</i> The day is hot, and I am weary; I will sit
+down and rest in the shade of this tree.</p><p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+
+<p><i>Sarah:</i> Yea, it is hot. I will bring thee drink and food
+that thou mayest refresh thyself, my good husband.</p>
+
+<p class="blockquot">[<span class="smcap">Sarah</span> <i>goes into the tent.</i> <span class="smcap">Abraham</span> <i>sees three strangers
+approaching. He stands up, shades his eyes with his
+hands, and looks out over the desert. He calls to</i> <span class="smcap">Sarah.</span>]</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig7" id="fig7"></a>
+<img src="images/i_102.jpg" width="600" height="512" alt="Fig. 7.&mdash;The three guests bless Abraham and Sarah" title="Fig. 7.&mdash;The three guests bless Abraham and Sarah"/>
+<span class="caption"><span class="smcap">Fig. 7.</span>&mdash;The three guests bless Abraham and Sarah</span>
+</div>
+
+<p><i>Abraham:</i> Sarah, my wife, come hither! Lo, I see
+three strangers approaching over the desert.</p>
+
+<p class="blockquot">[<span class="smcap">Sarah</span> <i>comes out of the tent and looks also.</i>]</p>
+
+<p><span class="smcap">Sarah:</span> They will be weary and in need of rest. I will
+hasten and prepare food and drink for them also.</p>
+
+<p class="blockquot">[<span class="smcap">Sarah</span> <i>goes away.</i> <span class="smcap">Abraham</span> <i>rises to meet the strangers: he
+falls on the ground before them.</i>]</p>
+<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
+
+<p><i>Abraham:</i> Welcome, strangers, to the tent of Abraham!
+If I have found favor in thy sight, pass not away, I pray
+thee! Let now a little water be fetched and wash your
+feet, and rest yourselves under the tree; and I will fetch
+a morsel of bread, and this will strengthen your hearts;
+after that ye shall pass on.</p>
+
+<p><i>The Three Strangers:</i> So do as thou hast said, good
+Abraham.</p>
+
+<p class="blockquot">[<span class="smcap">Abraham</span> <i>turns to the servants who are standing near.</i>]</p>
+
+<p><i>Abraham:</i> Haste ye, bring water; fetch a calf, tender
+and good. [<i>Servants hasten away.</i>] [<i>To the strangers</i>]:
+Sarah, my wife, will make ready three measures of fine meal
+and knead it into cakes.</p>
+
+<p><i>First Stranger:</i> Our host, Abraham, is a true servant of
+the Lord.</p>
+
+<p><i>Second Stranger:</i> We are indeed weary; we have
+journeyed far across the desert.</p>
+
+<p class="blockquot">[<i>Servants appear with water and food.</i> <span class="smcap">Sarah</span> <i>also brings
+food to them.</i>]</p>
+
+<p><i>Sarah:</i> Drink thou this fresh milk, and refresh thyself
+with these dates, for ye look weary.</p>
+
+<p><i>Third Stranger:</i> This is indeed a rest.</p>
+
+<p class="blockquot">[<span class="smcap">Sarah</span> <i>goes into the tent and the strangers finish eating.
+The strangers rise to go.</i>]</p>
+
+<p><i>Abraham:</i> Tarry yet awhile with us.</p>
+
+<p><i>First Stranger:</i> We thank thee, good Abraham, but we
+must be on our way.</p>
+
+<p><i>Second Stranger:</i> We would speak with thee and thy
+wife, Sarah. Where is thy wife?</p>
+
+<p><i>Abraham:</i> Sarah, come hither.</p>
+
+<p class="blockquot">[<span class="smcap">Sarah</span> <i>appears.</i>]</p>
+<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p>
+
+<p><i>Third Stranger:</i> We bring you a message from the Lord.
+You shall have a son, and his name shall be Isaac. He
+shall be the father of many men, and thousands shall respect
+him.</p>
+
+<p><i>Sarah:</i> Surely, this cannot come to pass!</p>
+
+<p><i>Abraham:</i> Thanks be to God for this great gift!</p>
+
+<p class="blockquot">[<span class="smcap">Sarah</span> <i>and</i> <span class="smcap">Abraham</span> <i>fall down on their knees before the
+strangers. The strangers stretch out their hands
+to bless them.</i>]</p>
+
+<p><i>Three Strangers:</i> The Lord will bless you, Sarah and
+Abraham!</p>
+
+<p class="blockquot">[<i>The strangers depart.</i> <span class="smcap">Abraham</span> <i>and</i> <span class="smcap">Sarah</span> <i>arise.</i>]</p>
+
+<p><i>Abraham and Sarah:</i> Surely these were angels from the
+Lord!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+<p>As this play was very short, the suggestion was
+made that we might lengthen the program, as well
+as make it more interesting, by having some of the
+children tell the audience just how we worked up
+the dramatization. The two older girls undertook
+this and decided entirely by themselves just what
+they would say. One of them wrote with great
+care a description of the method of procedure.
+She read it to the club for approval, then she
+learned it by heart and gave it in an interesting
+manner to the audience on the day the play was
+given. The other girl wrote a poem about it, and
+recited it just before the play was given. The
+description and poem are as follows:</p>
+<p><span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
+
+
+<h4>THE INTRODUCTION</h4>
+
+<p class="center"><span class="smcap">By Margaret Miller</span></p>
+
+<div class="blockquot">
+<p>The play which the children are now going to give&mdash;<i>Abraham
+and the Three Guests</i>&mdash;has been worked out and
+practiced at the dramatic club. This club meets every
+Sunday afternoon from three until four o'clock, and is
+composed of any of the children of the Sunday school who
+wish to belong.</p>
+
+<p>The first Sunday Miss Miller told the story to the members,
+and then they, knowing it, acted it out, making up
+the parts as they went along. This they did several times
+until they knew the story perfectly.</p>
+
+<p>The two oldest girls did not take part in the acting of the
+play, but became assistants and helped Miss Miller direct
+it. During the next week the assistants wrote out the
+speeches very much as the children had made them up.
+These were read before the club and discussed, and after a
+number of suggestions had been added by all the children
+present the scene was finally written as it now is.</p>
+
+<p>The children each took home a part to learn, and the
+following Sunday they all tried the different speeches.
+Before the final characters were chosen each child was able
+to represent any one of them. The final characters were
+decided upon by the group and were chosen according to
+their preferences and their ability to enact the different parts.</p>
+
+<p>Unfortunately, most of the costumes which the club
+had on hand were much too small for the children this year.
+We therefore held a sewing-bee during the week, and
+lengthened the old ones or made new ones where we found
+it necessary.</p>
+
+<p>We have worked on this play for five meetings, which
+represents altogether five hours, except for a little work
+that the assistants did outside.</p>
+<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+
+<p>We have had much fun with this play, and we are hoping
+that you will enjoy it too.</p>
+</div>
+
+
+<h4>POEM</h4>
+
+<p class="center"><span class="smcap">By Melba Pyle</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Before you soon you shall see<br /></span>
+<span class="i0">The story of <i>Abraham and the Strangers Three.</i><br /></span>
+<span class="i0">The partakers, they have worked;<br /></span>
+<span class="i0">The assistants, they have shirked&mdash;<br /></span>
+<span class="i0">But not as much as you would think,<br /></span>
+<span class="i0">For they have helped to join each link.<br /></span>
+<span class="i0">As day by day passed quickly away<br /></span>
+<span class="i0">We read the Bible and wrote the play.<br /></span>
+<span class="i0">Each child helped as best he could,<br /></span>
+<span class="i0">And thus we worked in brotherhood.<br /></span>
+<span class="i0">Word with word we did neatly join,<br /></span>
+<span class="i0">Then home we went, our parts to learn,<br /></span>
+<span class="i0">Next to the box where the costumes lay,<br /></span>
+<span class="i0">And straight to sewing and not to play.<br /></span>
+<span class="i0">And 'tis our happy aim, you see,<br /></span>
+<span class="i0">To make you joyous as can be!<br /></span>
+</div></div>
+
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX<br /><br />
+
+THE DRAMATIZATION OF <i>DANIEL IN THE
+LIONS' DEN</i></h2>
+
+
+<p>The story of <i>Daniel in the Lions' Den</i> was dramatized
+by the members of the club according to the
+same methods as those which were used in connection
+with the story of <i>Abraham and the Three Guests.</i></p>
+
+<p>This play is given here in order to show how a
+story which deals with a miraculous event may be
+treated. When Daniel was thrust into the den
+of lions, he was in reality put out of the door which
+opens at the side of the stage. The children
+readily came to the decision that it was unnecessary
+to show Daniel actually in the den of lions on the
+stage. In telling the story no explanation was
+made or asked for concerning the miracle which
+happened. The children accepted it and enjoyed
+it as they would any other good story.</p>
+
+<p>The final play which follows represents entirely
+the children's interpretation; the product is their
+own.</p>
+
+
+<h3>DANIEL IN THE LIONS' DEN</h3>
+
+
+<h4><a name="scene_i" id="scene_i"></a>SCENE I</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The court room of King Darius.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> King Darius, Daniel, Four Conspirators,
+Soldiers, Servants.</p>
+<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+
+<p class="blockquot">[<span class="smcap">King Darius</span> <i>is seated on his throne. Soldiers and attendants
+stand nearby. The conspirators are talking together
+at one side.</i> <span class="smcap">Daniel</span>, <i>followed by two soldiers, comes in
+and kneels before the</i> <span class="smcap">King</span>.]</p>
+
+<p><i>Daniel:</i> King Darius, live forever!</p>
+
+<p><i>King Darius:</i> Good Daniel, I have sent for thee that
+thou mayest know my will. It has pleased me to set over
+my kingdom one hundred and twenty princes, and over
+these princes have I set three rulers. Thou hast been so
+faithful and true that I wish to make thee the first of these
+three rulers. Thou shalt have great responsibility, and
+thou shalt report to me when thou thinkest it well to
+do so.</p>
+
+<p><i>Daniel:</i> Thou art kind and gracious unto me, O King!
+May the Lord, Jehovah, help me to do this.</p>
+
+<p><i>King Darius:</i> Come unto the feast, Daniel, and have
+the royal robe placed on thee.</p>
+
+<p class="blockquot">[<span class="smcap">Daniel</span> <i>bows to the</i> <span class="smcap">King</span> <i>and they both go out, followed by
+the soldiers and servants.</i>]</p>
+
+<p class="blockquot">[<i>The conspirators are left alone in the room. They show
+great anger and begin talking to each other.</i>]</p>
+
+<p><i>First Conspirator:</i> See how this Daniel has found favor
+in the King's sight! He is not of our country, he belongs
+to the Hebrew people; but the King has appointed him over
+us all! We must destroy this Daniel.</p>
+
+<p><i>Second Conspirator:</i> Yea, thou art right. What can
+we do?</p>
+
+<p class="blockquot">[<i>They all walk back and forth in deep thought.</i>]</p>
+
+<p><i>Third Conspirator:</i> I can think of nothing against him!</p>
+
+<p><i>Fourth Conspirator:</i> Thou sayest the truth; he hath
+no fault. He is faithful and doth nothing wrong.</p>
+
+<p><i>First Conspirator:</i> I can think of nothing, save that we
+find it against him concerning his God.</p>
+<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+
+<p><i>Fourth Conspirator:</i> Ah, that is true; Daniel worshipeth
+a different God; I have seen him praying thrice in one day.</p>
+
+<p><i>Second Conspirator:</i> Let us influence the King to make
+a firm decree that whosoever shall worship any God or man,
+save the King, for thirty days, he shall be cast into the den
+of lions.</p>
+
+<p><i>Third Conspirator:</i> That soundeth well! If Daniel be
+faithful to his God, he will surely disobey this decree; and
+if the King once signeth it, the law of the Medes and the
+Persians saith that it cannot be altered.</p>
+
+<p><i>First Conspirator:</i> Ah, this will surely be Daniel's ruin
+now!</p>
+
+<p><i>Fourth Conspirator:</i> Come, let us hasten to the King and
+have him establish and sign this decree. He will be pleased;
+he will not think of Daniel.</p>
+
+<p><i>Third Conspirator:</i> Yea, we will hasten before the
+setting of the sun.</p>
+</div>
+
+<h4><a name="scene_ii" id="scene_ii"></a>SCENE II</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The same as in <a href="#scene_i">scene i</a>.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The same as in <a href="#scene_i">scene i</a>.</p>
+
+<p class="blockquot"><span class="smcap">Time:</span> Several days after the events in <a href="#scene_i">scene i</a>.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">King</span> <i>is seated on his throne. The four conspirators
+come before the</i> <span class="smcap">King</span> <i>and kneel.</i>]</p>
+
+<p><i>The Conspirators:</i> Great King Darius, live forever!</p>
+
+<p><i>King Darius:</i> Arise, my friends!</p>
+
+<p><i>First Conspirator:</i> O King, hast thou not signed a
+decree that he who shall pray to any God or man within
+thirty days, save to thee, shall be cast into the den of lions?</p>
+
+<p><i>King Darius:</i> This thing is true, according to the law
+of the Medes and Persians, which altereth not.</p>
+
+<p><i>Second Conspirator:</i> A man in thy kingdom regardeth
+not this law, and doth pray to his God three times a day&mdash;we
+have seen him!</p>
+<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p>
+
+<p><i>King</i> [<i>with anger</i>]: Who is this man that breaketh my
+laws?</p>
+
+<p><i>First Conspirator:</i> He is Daniel, whom thou hast favored
+and made ruler!</p>
+
+<p><i>King Darius</i> [<i>with surprise and sadness</i>]: Daniel! It
+cannot be! Daniel must not die, for I love him.</p>
+
+<p><i>Third Conspirator:</i> Thou knowest, O King, that the
+law of the Medes and Persians is that no decree which the
+King establisheth may be changed.</p>
+
+<p><i>King</i> [<i>sadly</i>]: Thou sayest truly; the King's word may
+not be broken. Bring Daniel hither.</p>
+
+<p class="blockquot">[<i>Soldiers go for</i> <span class="smcap">Daniel</span>. <i>The</i> <span class="smcap">King</span> <i>walks back and forth
+in great distress.</i>]</p>
+
+<p><i>King</i> [<i>talking to himself</i>]: Oh, I would that this had not
+happened!</p>
+
+<p class="blockquot">[<span class="smcap">Daniel</span> <i>appears and bows before the</i> <span class="smcap">King</span>.]</p>
+
+<p><i>King:</i> Why hast thou disobeyed my law, Daniel?
+Wherefore didst thou pray to thy God when thou knewest
+of my decree?</p>
+
+<p><i>Daniel:</i> Great King Darius, my God, the God to whom
+I pray, is the true God, and I shall worship no other. Do
+with me what thou wilt.</p>
+
+<p><i>King:</i> Daniel, I would that thou hadst not done this
+thing, for I love thee. Thou art a brave and bold man!
+Thy God whom thou servest continually, he will deliver
+thee! [<i>To the soldiers</i>]: Take this man from me; cast him
+into the den of lions.</p>
+
+<p class="blockquot">[<i>Soldiers take</i> <span class="smcap">Daniel</span> <i>and thrust him into the den. The door
+is closed, and the</i> <span class="smcap">King</span> <i>seals it with his signet. The</i> <span class="smcap">King</span>
+<i>and attendants withdraw. The conspirators are alone.</i>]</p>
+
+<p><i>First Conspirator:</i> Daniel has fallen at last! No longer
+will he be the King's favorite!</p>
+
+<p><i>Fourth Conspirator:</i> We, instead, will be the favored ones!</p>
+
+<p class="blockquot">[<i>They leave the room in high spirits.</i>]</p></div>
+<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+
+<h4>SCENE III</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The same as in <a href="#scene_i">scene i</a>.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The same as in <a href="#scene_i">scene i</a>.</p>
+
+<p class="blockquot"><span class="smcap">Time:</span> The next morning after the events in <a href="#scene_ii">scene ii</a>.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">King</span> <i>hastens to the door of the lions' den.</i>]</p>
+
+<p><i>King</i> [<i>calling eagerly</i>]: O Daniel, servant of the living
+God, is thy God, whom thou servest continually, able to
+deliver thee from the lions?</p>
+
+<p><i>Daniel</i> [<i>from within</i>]: O King, live forever! My God
+hath sent his angel and hath shut the lions' mouths, and
+they have not hurt me, for the Lord knoweth that I have
+done no wrong, either before him or thee, O King!</p>
+
+<p><i>King</i> [<i>to servants who have followed him into the room</i>]:
+Come hither, servants! Quickly bring Daniel out that I
+may see him!</p>
+
+<p class="blockquot">[<i>The door is opened, and</i> <span class="smcap">Daniel</span> <i>comes out. The</i> <span class="smcap">King</span> <i>shows great joy in greeting him.</i>]</p>
+
+<p><i>King:</i> Thy God is truly the living God! Bring forth
+the men that have done Daniel this wrong. Cast them into
+the lions' den.</p>
+
+<p class="blockquot">[<i>The conspirators are standing in the room, looking at</i> <span class="smcap">Daniel</span>
+<i>in astonishment. The soldiers seize them and push them
+down into the den. As they go they cry to the</i> <span class="smcap">King</span>.]</p>
+
+<p><i>Conspirators:</i> O King, spare us!</p>
+
+<p><i>King:</i> I will now sign a decree that in every dominion
+of my kingdom men shall bow before the God of Daniel,
+for he is the only true God. He delivereth and rescueth and
+worketh great wonders; he hath saved Daniel from the
+power of the lions.</p>
+
+<p><i>Daniel:</i> The Lord God will surely bless thee for this
+good thing!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span></p>
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X<br /><br />
+
+THE DRAMATIZATION OF NEW TESTAMENT
+PARABLES</h2>
+
+
+<p>Many of the New Testament parables present
+interesting problems for dramatization. The selection
+should be limited to those which involve
+dramatic situations and unity of structure. The
+simplicity and conciseness of words and actions
+in many of the parables are qualities which call
+forth a ready and free response from children.</p>
+
+<p>Among the parables which have been worked
+out by the dramatic club are <i>The Good Samaritan</i>,
+<i>The Wise and Foolish Virgins</i>, <i>The Great Supper</i>,
+<i>The Talents</i>, <i>The Prodigal Son.</i></p>
+
+<p>In the case of these short parables the story was
+not told first, but the parable was read to the children
+directly from the Bible. There was no discussion
+as to the truths supposed to be taught, the
+emphasis being placed entirely upon the story element
+involved. The customs of the times and the
+division of the story into scenes were discussed as
+fully as was done with other stories. Usually
+one or two meetings were all that were necessary
+for working one of these parables into dramatic
+form. When it was completed, the result was not<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
+a finished product, as the words and action had
+been interpreted with slight variations each time.
+The children learned the story by heart, as it is
+given in the Bible. This influenced their words
+when they were dramatizing.</p>
+
+<p>Several parables were given together at the
+meeting when parents and friends were invited.
+One child recited the Bible version just before the
+play was given. This feature added interest and
+dignity to the occasion.</p>
+
+<p>The parables were given in the following order:</p>
+
+
+<h3>THE WISE AND FOOLISH VIRGINS</h3>
+
+<div class="blockquot"><p class="blockquot">[<i>Ten virgins with their lamps are waiting for the bridegroom.</i>]</p>
+
+<p><i>First Virgin:</i> The bridegroom tarries; let us rest here
+awhile.</p>
+
+<p><i>Other Virgins:</i> Yea, let us rest.</p>
+
+<p class="blockquot">[<i>They all sit down and go to sleep.</i>]</p>
+
+<p><i>A Cry Without:</i> Behold, the bridegroom cometh! Go
+ye out to meet him!</p>
+
+<p class="blockquot">[<i>All the virgins get up hurriedly. The five wise ones, with oil
+in their lamps, stand in readiness. The five foolish
+ones are in great confusion.</i>]</p>
+
+<p><i>First Foolish Virgin:</i> We have no oil! Our lamps are
+gone out!</p>
+
+<p><i>Second Foolish Virgin</i> [<i>speaking to the five wise virgins</i>]:
+Give us of your oil&mdash;we have none.</p>
+
+<p><i>First Wise Virgin:</i> Not so, lest there be not enough for
+ourselves and for you. But go ye rather to them that sell,
+and buy for yourselves.</p>
+
+<p class="blockquot">[<i>The foolish virgins hasten away.</i>]</p>
+<p><span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span></p>
+
+<p><i>A Cry Without:</i> Behold, the bridegroom cometh! Go
+ye out to meet him!</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Bridegroom</span> <i>comes in, followed by a few attendants.
+He walks by, and the five wise virgins follow him. They
+go in a door which is closed after them. The foolish virgins
+come hurriedly back and rush to the door. They beat on it
+and call out several times.</i>]</p>
+
+<p><i>Foolish Virgins:</i> Lord, Lord, open unto us!</p>
+
+<p class="blockquot">[<i>The door opens and the</i> <span class="smcap">Bridegroom</span> <i>stands there.</i>]</p>
+
+<p><i>Bridegroom:</i> Depart, I know you not!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+<p>During the work on this play the question arose
+as to the kind of lamps that were used at the time
+of the story. The children looked up pictures and
+descriptions, and from these they made themselves
+lamps out of plasticene or clay. <a href="#fig8">Fig. 8</a> is a photograph
+of one of the scenes taken out of doors.
+The lamps can be seen, also the simple costumes
+which the children worked out.</p>
+
+
+<h3>THE GREAT SUPPER</h3>
+
+<div class="blockquot"><p class="blockquot">[<i>The</i> <span class="smcap">Master</span> <i>of the feast stands in his door and speaks to his
+servant.</i>]</p>
+
+<p><i>The Master:</i> Go, bid my friends come to the supper, for
+all things are now ready!</p>
+
+<p class="blockquot">[<i>The servant bows; the</i> <span class="smcap">Master</span> <i>goes into the house. The
+servant walks down the street, and as he meets people he
+delivers his</i> <span class="smcap">Master's</span> <i>message.</i>]</p>
+
+<p><i>Servant</i> [<i>to the men as they come by</i>]: My Master bids
+thee come to his feast, for all things are now ready!</p>
+<p><span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig8" id="fig8"></a>
+<img src="images/i_115.jpg" width="600" height="344" alt="Fig. 8.&mdash;The wise and foolish virgins" title="Fig. 8.&mdash;The wise and foolish virgins"/>
+<span class="caption"><span class="smcap">Fig. 8.</span>&mdash;The wise and foolish virgins</span>
+</div><p><span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span></p>
+
+<p><i>First Man:</i> Say to thy Master that I have bought a
+piece of land and must needs go and see it. I pray thee have
+me excused.</p>
+
+<p class="blockquot">[<i>The servant bows and the man passes on. The servant
+delivers the message to the second man.</i>]</p>
+
+<p><i>Second Man:</i> I have bought five yoke of oxen; I must
+go to prove them. I pray thee have me excused.</p>
+
+<p><i>Third Man:</i> I have married a wife, and therefore I
+cannot come.</p>
+
+<p class="blockquot">[<i>The servant goes back to his</i> <span class="smcap">Master's</span> <i>house; the</i> <span class="smcap">Master</span>
+<i>comes out to meet him.</i>]</p>
+
+<p><i>Servant</i> [<i>falls on his knees before his</i> <span class="smcap">Master</span>]: O sir, I
+did as thou commandedst, but one by one they made excuse,
+and would not come to thy supper. One man had just
+bought a piece of land and must go to see it; another had
+bought five yoke of oxen, and was on his way to prove them;
+and another had just married a wife. All begged that thou
+excuse them.</p>
+
+<p><i>Master</i> [<i>shows great anger</i>]: What! They that are bidden
+refuse to come to my feast! Go out quickly into the
+streets and lanes of the city, and bring in hither the maimed,
+and the halt, and the blind!</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Master</span> <i>goes into his house, and the servant again walks
+down the street.</i>]</p>
+
+<p><i>Servant</i> [<i>as he meets the lame, the halt, and the blind</i>]:
+Come! My Master invites you to a great supper, which is
+now prepared at his house!</p>
+
+<p class="blockquot">[<i>Each person, or group of persons, bows and thanks him with
+such remarks as</i>]&mdash;</p>
+
+<p><i>Maimed, Halt, Blind:</i> We thank thee; we will be there.
+We gladly accept this invitation.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Master</span> <i>stands in the door to receive his guests as they
+come. When they are all in, the servant comes
+back to his</i> <span class="smcap">Master</span>.]</p>
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+
+<p><i>Servant:</i> Lord, it is done as thou hast commanded, and
+yet there is room.</p>
+
+<p><i>Master:</i> Go out into the highways and hedges, and compel
+them to come in, that my house may be filled. For I
+say unto you that none of those men that were bidden shall
+taste of my supper!</p>
+
+<p class="blockquot">[<i>The servant bows</i>; <i>the</i> <span class="smcap">Master</span> <i>goes in.</i>]</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+
+<h3>THE GOOD SAMARITAN</h3>
+
+
+<h4>SCENE I</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The road from Jerusalem to Jericho.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> A Traveler, Thieves, a Priest, a Levite,
+a Samaritan.</p>
+
+<p class="blockquot">[<i>A man comes along the road carrying his bundle over his
+back. Many thieves rush out from ambush and attack him.
+Some knock him down and rob him, while others are looking
+anxiously up and down the road. After beating and cutting
+the man they go off, thinking that he is dead.</i></p>
+
+<p class="blockquot"><i>As the traveler lies groaning and begging for water, a priest
+comes along the road, but when he sees the man he passes by
+on the other side of the road. Also a Levite comes along, and
+after looking at the man passes by on the other side of the road.</i></p>
+
+<p class="blockquot"><i>Then a Samaritan comes along, and as soon as he hears the
+groans he hastens over to the man. He kneels down and looks
+at him and speaks.</i>]</p>
+
+<p><i>Good Samaritan:</i> What is this&mdash;a man! Hast thou
+been hurt, my friend?</p>
+
+<p><i>Man:</i> Oh, help me! Thieves fell upon me and took all
+I had, and have left me here to die.</p><p><span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig9" id="fig9"></a>
+<img src="images/i_118.jpg" width="600" height="346" alt="Fig. 9.&mdash;The Good Samaritan" title="Fig. 9.&mdash;The Good Samaritan"/>
+<span class="caption"><span class="smcap">Fig. 9.</span>&mdash;The Good Samaritan</span>
+</div><p><span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+
+<p><i>Good Samaritan:</i> I will help thee, my good friend; thy
+wounds shall be bound. Drink this wine. It may help
+thee. Art thou able to get on this beast of mine? I will
+take thee to the inn where thou wilt be cared for. [<i>He helps
+the man to rise and supports him as he hobbles off. They
+both go out.</i>]</p></div>
+
+
+<h4>SCENE II</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> The Inn.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The Samaritan, the Traveler, the Innkeeper.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Good Samaritan</span> <i>brings the man to the door of the inn
+and knocks. The</i> <span class="smcap">Innkeeper</span>, <i>appears.</i>]</p>
+
+<p><i>Innkeeper:</i> Good day, sir.</p>
+
+<p><i>Good Samaritan:</i> Here is a wounded man. Take care
+of him. Here is money, and whatsoever thou spendest
+more, when I come again I will repay thee. [<i>He gives the</i>
+<span class="smcap">Innkeeper</span> <i>some money. The</i> <span class="smcap">Innkeeper</span> <i>takes the man.</i>]</p>
+
+<p><i>Traveler</i> [<i>to</i> <span class="smcap">Good Samaritan</span>]: God bless you, my
+friend!</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+
+<h3>THE PRODIGAL SON</h3>
+
+
+<h4><span class="smcap">Act I</span></h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In the father's home.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The Younger Brother, the Father, the
+Elder Brother, Servants.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Father</span> <i>and</i> <span class="smcap">Elder Son</span> <i>come into the room together.</i>
+<i>The</i> <span class="smcap">Younger Son</span> <i>comes in from another door.</i>]</p>
+
+<p><i>Younger Son:</i> Father, give me the portion of goods that
+falleth unto me. I am weary of living at home. I will go
+into some far country and make my fortune.</p>
+
+<p><i>Father:</i> My son, why is it that thou desirest this?
+Hast thou not everything at home?</p>
+
+<p><i>Younger Son:</i> Yea, father, but I beg of thee to divide
+thy living between us. I must have my share.</p><p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span></p>
+
+<p><i>Father:</i> Thou art very foolish; nevertheless I will do
+as thou askest. [<i>To servant</i>]: Bring my money bags.
+[<i>To</i> <span class="smcap">Elder Son</span>]: And dost thou intend to take thy living
+also, and leave thy father?</p>
+
+<p><i>Elder Son:</i> Nay, father, I am fully content to live with
+thee; I do not want my portion.</p>
+
+<p class="blockquot">[<i>Servant returns with money bags.</i> <span class="smcap">Father</span> <i>gives money to
+his younger son.</i>]</p>
+
+<p><i>Father:</i> This is thy share&mdash;use it wisely.</p>
+
+<p><i>Younger Son:</i> I thank thee, father. I shall become a
+rich man with this; but now I must leave thee; I can stay
+here no longer.</p>
+
+<p><i>Father:</i> This grieves me, my son, for I know that thou
+art foolish&mdash;but go and learn thy lesson.</p>
+
+<p class="blockquot">[<i>He stretches out his hands toward his son as if blessing him.</i>]</p></div>
+
+
+
+<h4><span class="smcap">Act II</span></h4>
+
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Along the roadside in a distant country.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The Prodigal Son, a Farmer.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Prodigal Son</span> <i>comes down the road, tired and hungry.</i>
+<i>He sits on a rock and talks.</i>]</p>
+
+<p><i>Prodigal Son:</i> Would that I had something to eat! My
+money is all spent, and there is famine in the land. What
+shall I do? I am sick, and feel that I may soon die. If
+I could but find something to do that I might get a little
+food.</p>
+
+<p class="blockquot">[<i>A man comes along. The</i> <span class="smcap">Prodigal Son</span> <i>goes toward him
+and falls down before him.</i>]</p>
+
+<p><i>Prodigal Son:</i> O sir, I am starving unto death. Wilt
+thou give me any task to do that I may make enough to
+keep me alive?</p><p><span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+<p><i>Man:</i> I have no work to be done&mdash;unless it be to take
+care of my swine. Thou wilt find them in yon field; they
+need a keeper.</p>
+
+<p><i>Prodigal Son:</i> I will gladly do this.</p>
+
+<p class="blockquot">[<i>He goes off joyfully.</i>]</p></div>
+
+
+<h5>SCENE II</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In the field with the swine.</p>
+
+<p class="blockquot"><span class="smcap">Character:</span> The Prodigal Son.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Prodigal Son</span> <i>comes in driving the pigs.</i> <i>He sits
+down.</i>]</p>
+
+<p><i>Prodigal Son:</i> How horrible is this life; I am dying of
+hunger. No man will give me anything&mdash;all I get to eat
+is the food that I give the pigs. Oh, I wish that I had never
+left home! How many hired servants of my father's have
+bread enough and to spare, and I perish with hunger! I
+will arise and go to my father, and will say unto him,
+"Father, I have sinned against heaven and before thee, and
+am no more worthy to be called thy son; make me as one
+of thy hired servants."</p>
+
+<p class="blockquot">[<i>He rises and goes away hurriedly.</i>]</p></div>
+
+
+<h4><span class="smcap">Act III</span></h4>
+
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In front of the father's home.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> The Father, the Prodigal Son, the
+Servants.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Father</span> <i>stands looking for his son.</i>]</p>
+
+<p><i>Father:</i> It seemeth to me that I see my son coming
+home! I knew that he would come! I will go to meet him!
+[<i>He meets him.</i>] It is my son! [<i>The</i> <span class="smcap">Father</span> <i>shows great
+joy. The</i> <span class="smcap">Son</span> <i>falls on his knees before his father.</i>]</p><p><span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span></p>
+
+<p><i>Prodigal Son:</i> Father, I have sinned against heaven and
+before thee, and am no more worthy to be called thy son.</p>
+
+<p><i>Father:</i> Bring forth the best robe and put it on him;
+and put a ring on his hand, and shoes on his feet; and bring
+hither the fatted calf, and kill it, and let us eat and be merry,
+for this my son was dead and is alive again; he was lost and
+is found!</p></div>
+
+
+<h5>SCENE II</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> In the field, near the father's house.</p>
+
+<p class="blockquot"><span class="smcap">Characters:</span> Elder Son, Servant, the Father.</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Elder Son</span> <i>is hoeing in the field.</i> <i>A servant comes out.
+The</i> <span class="smcap">Elder Son</span> <i>calls to him.</i>]</p>
+
+<p><i>Elder Son:</i> I hear music and dancing in the house;
+what do these things mean?</p>
+
+<p><i>Servant:</i> Thy brother is come; thy father hath killed
+the fatted calf, because he hath received him safe and sound.
+Thy father sendeth for thee to come in. [<i>The</i> <span class="smcap">Elder
+Brother</span> <i>shows anger.</i>]</p>
+
+<p><i>Elder Brother:</i> I will not go in. Why should he make
+merry over my brother who has wasted his living?</p>
+
+<p class="blockquot">[<i>The</i> <span class="smcap">Father</span> <i>comes out.</i>]</p>
+
+<p><i>Father:</i> My son, wilt thou come unto the feast? Thy
+lost brother hath returned!</p>
+
+<p><i>Elder Son:</i> Lo, these many years do I serve thee;
+neither have I at any time disobeyed thee, yet thou never
+gavest me a kid that I might make merry with my friends.
+But as soon as thy son was come, which hath wasted thy
+living, thou hast killed for him the fatted calf.</p>
+
+<p><i>Father:</i> Son, thou art ever with me, and all that I have
+is thine. It was meet that we should make merry and be
+glad, for this thy brother was dead and is alive again; he
+was lost and is found. Come thou in to greet thy brother!</p>
+
+<p class="blockquot">[<i>They both go in.</i>]</p>
+
+<p class="center"><span class="smcap">End</span></p>
+</div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI<br /><br />
+
+THE DRAMATIC QUALITIES IN A GOOD STORY</h2>
+
+
+<p>The stories in the Bible, if taken just as they are
+given, present a body of material which is complicated
+by a historical background and a religious
+symbolism that is remote from the young child's
+experience. They embody the historical incidents
+as well as the myths and folklore of ancient Hebrew
+life, and for the most part they express the highest
+idealism of the Hebrew people. There is no reason,
+however, why good stories and appropriate incidents
+may not be given to children from this body
+of material through selecting from and simplifying
+the biblical version. A great deal of what is in
+the Bible should not be used, but there is much
+that is highly dramatic and becomes valuable for
+dramatization.</p>
+
+<p>It is possible to adapt an incident by simplifying,
+and in a measure reorganizing, the parts, and yet
+to keep the dignity and integrity of the story as
+it is given in the Bible. The attitude of the children,
+created by contact with this type of story,
+should be one of reverence and dignity, coupled
+with a consciousness of the high ideals of the people
+they are impersonating.</p><p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+
+<p>Before any attempt is made to select parts of the
+Bible narrative for dramatization the leader, or
+director of the children, should have well in mind
+standards which will help in making the part that
+is chosen a well-organized story. When any good
+story is analyzed it is found to be built upon an
+underlying basic structure. There is always a
+beginning or setting; a middle part, where the incidents
+rise to a climax; and an end, where the events
+of the story are satisfactorily worked out. There
+should be a feeling of movement straight through
+the story; the incidents should develop; there
+should be action that leads to some end. A unity
+must underlie the whole story&mdash;there must be no
+part which is not essential to the working out of
+the plan. The end of the story should give a sense
+of completeness, of satisfaction.</p>
+
+<p>It is often the case that the three essential parts
+of the story call for three acts when the story is
+dramatized. In some of our modern dramas five
+acts, but in many only three acts, are required in
+order to complete the structure. Sometimes, however,
+all three parts of a story may be given in a
+one-act dramatization. Before a story is dramatized
+it is very necessary that it be told so clearly
+that the children are conscious of these parts;
+otherwise the resulting drama will lack in organization.
+No matter how elaborate or simple the
+story, the children should have a feeling for the<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
+basic structure, which should guide the form of
+the dramatization.</p>
+
+<p>The leader in charge of a dramatic club in which
+Bible stories are used must take the responsibility
+of changing the Bible version so as to make an
+organic unit of the story and yet keep the spirit
+and big meaning. There are many parts of the
+Bible narrative which already embody this simple
+organization&mdash;or division into related elements&mdash;if
+all of the heavy, unnecessary incidents are
+omitted.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<p>Although the main purpose of these dramatizations
+is not that an artistic result be secured, yet
+that is an important factor, and should be recognized
+by both the leader and the children. The
+product many times will be necessarily crude and
+lacking in the aesthetic element, but nevertheless
+there should be an attempt, even though gradually,
+to train the children toward a recognition and an
+appreciation of the artistic qualities of the literary
+production they put forth, as well as of the stage
+groupings and effects.</p>
+<p><span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span></p>
+
+<p>Care must be taken that the stories chosen are
+ethically sound. The story of Jacob is one that
+may well be omitted. Jacob deceives, and yet
+all the good things in life come to him&mdash;he takes
+them away from those who rightfully have earned
+them. This injustice in the story always raises
+a question in the minds of the children, and for
+this reason it is not a good story. The stories of
+Samson, Jephthah, Jael, and others on this order
+should be eliminated for similar reasons. They
+are each based upon attitudes toward society and
+standards of friendship which are now outgrown.
+There are so many simple episodes in the Bible
+that can easily be readjusted into well-constructed
+stories, about which there can be no question of the
+moral value, that no time need be wasted in considering
+any story about which there is the least
+suggestion of an unethical quality when judged by
+our present-day standards.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> As a matter of fact, it is often the later editorial additions to
+the simple old stories that have produced the cumbrous effect.
+When the original story is recovered, it lends itself much better
+to the purpose here discussed. Such a reorganization of the
+stories with a preservation of the biblical language has been made
+in Soares' <i>Heroes of Israel</i> (The University of Chicago Press),
+where also there is much illustrative material interpretative of
+the situations.</p></div>
+</div>
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII<br /><br />
+
+BIBLE STORIES SUITABLE FOR DRAMATIZATION</h2>
+
+
+<p>The stories which have been taken for dramatization
+in the previous chapters were not chosen
+because they are the best ones for that purpose, but
+because they represent different kinds of stories
+and illustrate the opportunity for various methods
+of presentation. There are many other stories and
+incidents in the Bible which are equal to, or better
+than, those described.</p>
+
+<p>A list of some of these stories is given below,
+together with a few of the most essential points
+which should be considered in dramatizing each.
+No attempt is made to give the story in full or to
+elaborate the dramatization; the plan for each is
+merely suggestive.</p>
+
+
+<h3>I. SAMUEL</h3>
+
+<h4>I SAMUEL, CHAPTERS 2 AND 3</h4>
+
+<p>The story of Samuel may be worked into a short
+play of one or two scenes. The most interesting
+and dramatic incident is the familiar one of the
+Voice Calling Samuel at Night. The first part of
+the story, however, is beautiful, and may be used
+along with this incident.</p><p><span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+
+<p>In scene i Hannah brings little Samuel to the
+temple and dedicates him to the Lord. Eli, the old
+priest, takes the child to live with him in the
+temple so that he may train him to serve the
+Lord.</p>
+
+<p>Scene ii takes place several years later. It is
+night time, and the child Samuel is sleeping near
+the old priest, Eli. He thinks he hears a voice
+calling him, and he runs to Eli to ask what he wants.
+Eli has not called him and tells him to lie down
+again. Three times he runs to Eli, thinking that
+he hears him calling. Then the priest tells him
+that it must be the Lord who has spoken and tells
+Samuel what to say the next time he is called.
+Samuel hears the message from the Lord and, upon
+Eli's request, tells him what he has heard. Eli
+realizes that the Lord has spoken truly, and accepts
+his fate as just. He praises Samuel and tells him
+that he will soon leave the care of the temple and
+of the people of Israel to him.</p>
+
+<p>Neither in this play, nor in any other play, should
+there be an attempt to represent the Lord's voice.
+The child may listen as if he were hearing someone
+speaking, and from what he says and does the
+audience will be aware of what is happening. For
+the sake of the result, from an artistic point of view,
+such parts as this should always be left to the
+imagination, no attempt being made to interpret
+them literally.</p><p><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+
+<h3>2. THE QUEEN OF SHEBA'S VISIT TO SOLOMON</h3>
+
+<h4>I KINGS, CHAPTER 10</h4>
+
+<p>The visit of the Queen of Sheba to Solomon
+furnishes a unit of work for a short one-act dramatization.
+There is no plot or complicated situation
+involved and there is very little activity suggested.
+The attention of the children may well be directed,
+however, to the description of Solomon's court and
+of the rich gifts which were exchanged. This is an
+excellent opportunity to have the children do construction
+work. They should make many things
+which will help to give the impression of richness
+to the court. They may also make their own
+costumes richer by adding jewels and bright-colored
+sashes and headdresses.</p>
+
+<p>This little dramatization will include many children.
+A number will be needed to come in with
+the Queen of Sheba, and there should be many
+attendants upon King Solomon. The conversation
+will be for the most part between Solomon and
+the Queen, heralds and servants making announcements.</p>
+
+<p>The play opens with the Queen of Sheba's
+arrival at the court of Solomon. Messengers
+announce her to the King. Solomon talks with
+the Queen and she tells him that she admires his
+great wisdom and his wealth. Then Solomon commands
+that the feast be served, and while they eat<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
+the Queen presents her gifts to Solomon. When
+the Queen takes her leave Solomon gives her
+wonderful presents. The play will end with the
+exit of the Queen and her attendants.</p>
+
+<p>Unless the children put much thought upon the
+stage setting and the conversation, this incident
+may prove uninteresting. It has, however, great
+possibilities for the working out of a beautiful
+picture.</p>
+
+
+<h3>3. JOSHUA AND THE GIBEONITES</h3>
+
+<h4>JOSHUA, CHAPTER 9</h4>
+
+<p>The story of Joshua and the Gibeonites is so
+simply told in the Bible that children of nine or
+ten years of age can read it as it is given and
+dramatize it directly from that version.</p>
+
+<p>The dramatization of this narrative calls for
+many characters. The older children may take the
+parts of Joshua and the leaders of the Gibeonites,
+while the younger ones are needed for Israelite
+soldiers and citizens of Gibeon. All the characters
+in the play will need to do much acting even
+though they do not enter into the conversation.</p>
+
+<p>Although the dramatization should be a product
+of the children's work, yet the leader should have
+well in mind the three main divisions of the story
+that she may guide the children by her questions.
+This story may be worked into one of the more<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+elaborate productions. The Bible language should
+Be used and the result should be full of dignity and
+spirit. For detail in the method of presentation
+compare that employed in the story of Joseph
+(<a href="#CHAPTER_III">chapter iii</a>).</p>
+
+<p>The story may be given so that the following
+divisions or scenes are emphasized:</p>
+
+
+<h4>SCENE I</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> At Gibeon. Street scene.</p>
+
+<p>The inhabitants are discussing the victories of the
+Israelites. They are afraid of Joshua, the leader. Messengers
+report that he is advancing toward Gibeon. The
+Gibeonites plan to make a league with him so that he will
+not destroy their city. They decide to deceive Joshua by
+dressing as strangers from a far country, wearing old garments
+and taking moldy bread and wine.</p>
+</div>
+
+<h4>SCENE II</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Joshua's tent at the camp of Gilgal.</p>
+
+<p>The men from Gibeon come to Joshua and tell him that
+they are from a far country. They say that they have heard
+of his great victories and wish to make a league with him.
+The conversation between Joshua and these strangers is
+interestingly given in the Bible and may be quoted almost
+exactly. Joshua makes the treaty with them.</p>
+</div>
+
+<h4>SCENE III</h4>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> At Gibeon.</p>
+
+<p>The Israelite soldiers rush into Gibeon to take it, but
+find that the inhabitants are the same ragged strangers
+with whom they made the league. The Israelites reproach
+them, but cannot go back on their word, so spare their lives.<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>
+In order to punish the Gibeonites for their deception,
+Joshua makes them slaves of the Israelites.</p></div>
+
+<p>There is much opportunity for construction
+work in the dramatizing of this story. Costumes,
+pieces of armor, and weapons may be made in a
+simple manner by the children.</p>
+
+
+
+<h3>4. ISAAC AND REBEKAH</h3>
+
+<h4>GENESIS, CHAPTER 24</h4>
+
+<p>The story of Isaac and Rebekah is unusually
+valuable for dramatization. It involves a well-worked-out
+plot which is beautifully and simply
+told in the Bible, and which brings the children in
+contact with many interesting customs among the
+shepherd people. The story needs little changing;
+it may be given almost as it is written.</p>
+
+<p>The following outline for the divisions of the
+story is merely suggestive:</p>
+
+<h4><span class="smcap">Act I</span></h4>
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Abraham's tent in Canaan.</p>
+
+<p>Abraham is lying down in his tent. He is talking to
+Isaac, his son, about the wife he wishes him to have. He
+calls a servant and bids him go to Mesopotamia, his old
+home, and bring a wife for Isaac from his own kinsfolk.
+Abraham makes the servant swear that he will do as he has
+been told. Perhaps Abraham has his hand on Isaac while
+he is talking, and Isaac will take some small part in the
+conversation.</p></div>
+<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p>
+
+
+<h4><span class="smcap">Act II</span></h4>
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Mesopotamia.</p>
+
+<p>The messenger, with his servants, comes to the well just
+outside of the city walls, where the women draw water.
+There should be no attempt to represent the camels. These
+may be indicated by the conversation and left to the imagination.
+The messenger, through praying to God, decides
+how he shall know which young woman to choose for Isaac.
+When Rebekah comes with her pitcher she offers to give
+water to him and to his camels also. The man is sure then
+that Rebekah is sent by God, and therefore he arranges to
+go to her father's house for the night.</p>
+</div>
+
+<p>This scene should be made very picturesque as
+well as interesting. The children may look up
+pictures of the wells of those times and then construct
+something that will serve the purpose.
+Pieces of pottery may be brought in on the shoulders
+of the women to represent water jugs. (Compare
+with the street scene described in the story of
+Ruth, <a href="#CHAPTER_VI">chapter vi</a>.)</p>
+
+
+<h5>SCENE II</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Rebekah's home.</p>
+
+<p>In this scene comes the discussion of Rebekah's leaving
+home to become the wife of Isaac. The messenger makes
+known to the family that it is Abraham, their kinsman, who
+is sending for Rebekah. He gives Rebekah the gifts which
+his master has sent&mdash;earrings, bracelets, and the like. The
+family finally decide that Rebekah may go back to Canaan,
+but they ask the servant to let her stay with them for ten<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
+days longer. He is unwilling to wait, and the question is
+therefore put to Rebekah. She answers that she will go
+with him now.</p>
+</div>
+
+<h4><span class="smcap">Act III</span></h4>
+
+<h5>SCENE I</h5>
+
+<div class="blockquot"><p class="blockquot"><span class="smcap">Place:</span> Canaan. A field near Isaac's home.</p>
+
+<p>Isaac walks alone in the field at sunset. He is constantly
+looking into the distance, and he is wondering when the
+messenger will return with a wife for him. At length he
+sees the camels approaching and hastens to meet them.
+This is all indicated by his soliloquy&mdash;no camels must be
+shown. The servant and Rebekah have dismounted and
+come to meet Isaac. The servant gives Rebekah to Isaac
+who embraces her and shows his joy at receiving such a
+beautiful wife. The play should end where Isaac turns
+toward his father's tent with Rebekah.</p>
+</div>
+
+<p>While the children are playing this story there
+should be much detailed discussion which will give
+them an adequate background for understanding
+the customs upon which the story is based; and
+there should be shown many illustrations which will
+insure correct mental pictures.</p>
+
+<h3>5. ELIJAH AND THE WIDOW'S MEAL</h3>
+
+<h4>I KINGS, CHAPTER 17</h4>
+
+<p>This may be used as a very simple incident of
+two scenes, or it may be elaborated into a longer
+play.</p>
+
+<p>The first scene is placed by the gate of the city
+of Zarephath. As Elijah comes toward the gate<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>
+he asks a woman, who is gathering sticks, for a
+drink of water. She gives him the water and he
+asks for bread. The conversation between them
+brings out the facts that there is famine in the land,
+and that the widow has hardly enough meal left
+in the house to make bread for herself and for her
+son. She agrees to divide with Elijah, however,
+and takes him into her house. The wording for
+this scene may be taken almost directly as it is
+given in the Bible.</p>
+
+<p>The second scene is placed in the house of the
+widow. The woman and her son are eating with
+Elijah. From what they say to each other it is
+apparent that the meal and oil have lasted for many
+days, and the three people have had plenty to eat
+during the famine. The widow is convinced that
+a miracle has been wrought by her guest. She
+begs him to tell her who he is. The stranger
+answers that he is Elijah, the prophet of the Lord,
+and that it is through the Lord's care of them that
+they have had food enough. The play may well
+end here with the final speech from the widow as
+it is given in the Bible: "Now by this I know that
+thou art a man of God, and that the word of the
+Lord in thy mouth is truth."</p>
+
+<p>In case the part of the story which gives the
+raising of the widow's son is used, a third scene
+may be added, and the widow's speech would come
+at the end of that scene.</p><p><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<h3>6. ELISHA AND THE SHUNAMMITE</h3>
+
+<h4>II KINGS, CHAPTER 4</h4>
+
+<p>This incident is similar to the story of Elijah
+and the widow's meal, and may be dealt with in
+the same manner. It should be simplified by
+selecting certain parts for dramatization. The
+emphasis throughout falls upon the generous
+qualities of the two characters&mdash;Elisha, ever ready
+to help others, and the woman, who always kept
+a room for the prophet because she admired his
+goodness.</p>
+
+<h3>7. DANIEL INTERPRETS THE KING'S DREAM</h3>
+
+<h4>DANIEL, CHAPTERS 1 AND 2</h4>
+
+<p>The stories about Daniel have unusually interesting
+possibilities for dramatization. They need
+very little explanation. They are so vividly and
+beautifully told in the Bible that the children will
+understand them readily and have no difficulty in
+interpreting them. A few historical facts may be
+given to make the setting clear. The following
+divisions are suggested for the first story:</p>
+
+<h5>SCENE I</h5>
+
+<div class="blockquot">
+<p>King Nebuchadnezzar brings four Israelites into his
+court in order to have them trained as councilors. He
+appoints them a daily provision of the king's meat and
+wine.</p><p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+</div>
+
+<h5>SCENE II</h5>
+
+<div class="blockquot">
+<p>The King dreams a dream and forgets it. He calls all
+of his wise men and demands that they tell him what his
+dream was and also interpret it. The wise men declare
+that this is an impossibility and refuse to obey. Nebuchadnezzar
+is furious and orders that they all be put to
+death.</p>
+
+<p>Daniel then comes before the King and asks that the
+King give him time that he may interpret the dream. The
+King grants this.</p>
+</div>
+
+<h5>SCENE III</h5>
+
+<div class="blockquot">
+<p>Daniel appears before the King again. The King asks
+if he is able to tell what the dream was and to interpret it.
+Daniel answers that he is able to tell him, not, however,
+by his own power, but by the power of God in heaven who
+revealeth secrets. Then Daniel gives in detail the dream
+and tells King Nebuchadnezzar the meaning thereof. The
+King is so affected that he falls on his face and worships
+Daniel. He recognizes the God of Daniel, and commands
+that Daniel be made governor of Babylon. At Daniel's
+request he also makes the three other Israelites rulers of
+certain provinces.</p>
+</div>
+
+<p>This story may be treated in the same manner as
+the story of Joseph (<a href="#CHAPTER_III">chapter iii</a>).</p>
+
+
+<h3>8. SHADRACH, MESHACH, AND ABED-NEGO IN THE
+BURNING FIERY FURNACE</h3>
+
+<h4>DANIEL, CHAPTER 3</h4>
+
+<p>This story may be read to children directly from
+the Bible. After they have worked it over several<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+times the final product will include three scenes
+of the following character:</p>
+
+<h5>SCENE I</h5>
+
+<div class="blockquot">
+<p>The heralds come through the streets crying aloud that
+King Nebuchadnezzar commands all people to bow down
+when they shall hear the musical instruments and worship
+the image of gold which he has set up. Those who do not
+obey will be put into a burning fiery furnace. The instruments
+of music sound and all the people fall to the ground
+to worship except the three Israelites, Shadrach, Meshach,
+and Abed-nego. Some of the men notice that the Jews do
+not obey, and go off immediately to tell the King.</p>
+</div>
+
+<h5>SCENE II</h5>
+
+<div class="blockquot">
+<p>The men come before the King and begin their story by
+saying, "O King, live forever!" The Bible language may
+be used directly here in the conversation which follows.
+The King is very angry at what these men tell him. He
+orders that the three Jews be brought before him. They
+are brought in and the King tells them that they will have
+to be put into the fiery furnace if they do not obey. The
+Jews are not afraid and reply that their God will take care
+of them. The King then orders them to be bound and
+to be taken out to the furnace, which has been heated seven
+times hotter than usual. Men come running back to the
+King to tell him that the servants which thrust the Jews
+into the furnace were burnt up by the heat, but that the
+Jews were not harmed. Another man runs in and tells
+the King that a fourth person is in the furnace, and that he
+resembles the Son of God. Nebuchadnezzar commands
+that the three men be brought out from the furnace. They
+come before him, with no mark of the fire on them. The
+King is so greatly impressed that he makes a decree that<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+no one shall speak against the God of Shadrach, Meshach,
+and Abed-nego. He then appoints these three men to
+positions of greater trust than ever before.</p>
+</div>
+
+
+<h3>9. BELSHAZZAR AND THE HANDWRITING ON
+THE WALL</h3>
+
+<h4>DANIEL, CHAPTER 5</h4>
+
+<p>This story, like the others from Daniel, is so
+dramatically told in the Bible that it may be taken
+almost exactly as it is given. It should be worked
+into a one-act play. Much attention should be
+given to the setting, and the children may make
+many things which will give some idea of the richness
+of the banquet hall.</p>
+
+<p>The play opens with the feast of Belshazzar.
+The people are making merry in the midst of all
+the pomp and luxury of the court. Suddenly the
+handwriting appears on the wall. The King and
+the people see it and are terrified. The children
+should not attempt to show the handwriting, but
+from the words and actions of the King and the
+people the audience must be made aware of what
+is happening. None of the wise men present is
+able to interpret the handwriting. The Queen
+comes before the King and begs that he send for
+Daniel, the Jew. Daniel is brought in, and after
+a little thought gives the interpretation. The
+scene should end with the recognition of Daniel's
+power. The scarlet robe is placed on him and the<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+golden chain is put around his neck, and the King
+proclaims that Daniel shall be the third ruler in
+the land.</p>
+
+
+<h3>10. THE STORY OF JOB</h3>
+
+<h4>THE BOOK OF JOB</h4>
+
+<p>The most majestic piece of literature in the
+Bible, and one of the world's masterpieces, is the
+Book of Job. The Prologue and Epilogue are in
+the prose epic style, which characterizes the best
+narrative portions of the Bible. The main part
+of the book is actually dramatic in form, and the
+deep problem of human suffering is discussed in the
+loftiest poetic language. The theme is so profound
+and the imagery so elevated that it is quite
+beyond the ability of small children. High-school
+students might well present the drama. Many of
+the speeches may be abbreviated, while the Prologue
+can easily be dramatized. Job has been so
+presented with great success by children of high-school
+age at All Souls' Church, Chicago. It may
+be noted that the voice of the Lord was given in an
+elevated monotone by a person unseen.</p>
+
+
+<h3>11. THE PROPHETS</h3>
+
+<p>For the older children many of the Prophets
+make interesting characters for dramatization.
+The great value of a study of the Prophets lies in
+their appeal as beautiful pieces of literature and<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>
+expressions of the deepest spiritual feeling, rather
+than in the dramatic situations presented. If a
+study is made of the life of the Prophets, and of the
+times in which they lived, ample material will be
+discovered which may serve as a background for
+the dramatization of these characters. This
+material is not entirely available from the Bible,
+but should be reinforced by outside references,
+such as <i>The Prophets of Israel</i> by C. H. Cornill,
+<i>The Modern Reader's Bible</i> by R. G. Moulton, <i>The
+Hebrew Prophets</i> by Chamberlin.</p>
+
+<p>The prophet Amos may be taken as an example
+of what can be done with this material. The Children
+of Israel are celebrating their autumn festival
+with great joy and abandon. As the mirth is at
+its highest an unknown man makes his way through
+the crowd. He silences the festivity by chanting
+his dirgelike reproof to the merrymakers. The
+astonishment of the people at this sensational
+interruption is great. The high priest hurries
+toward him and demands an explanation for this
+unusual disturbance. He orders Amos to cease
+speaking and to go back to the hills and mind his
+sheep. Amos answers that he is sent by the Lord
+to reprove the people of Israel, and he continues
+to intone his lamentations. The most beautiful
+and vivid selections for use in dramatization are
+found in chapters 8 and 9. While the final beautiful
+words of the prophecy are regarded as an<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>
+editorial appendix, there can be no impropriety in
+using them as a dramatic climax. The people may
+then be represented as subdued in spirit, accepting
+the upbraiding as being the word of God.</p>
+
+<p>Isaiah, Jeremiah, and other Prophets may be
+worked out in like manner. The result in each
+case, however, should insure the utmost dignity
+and beauty; otherwise the dramatization should
+never be attempted.</p>
+
+<p>The many Prophets with their various messages
+suggest the possibility of their use in a pageant.
+This form of dramatization may be given to
+advantage by a group of children as a climax to
+their detailed study of the Prophets.</p>
+
+<hr class="tb" />
+
+<p>From each of the following subjects several
+dramatizations may be taken. They suggest many
+short one-act plays, and also some excellent long
+ones.</p>
+
+<div class="blockquot">
+<p>Saul Chosen and Anointed King of Israel. I Sam., chaps. 9 and 10.</p>
+
+<p>Samuel Anoints David. I Sam., chap. 16.</p>
+
+<p>David and Jonathan. I Sam., chaps. 18-20.</p>
+
+<p>David Spares Saul's Life. I Sam., chap. 24.</p>
+
+<p>Moses Begs Pharaoh to Allow the Children of Israel to Leave Egypt. Exod., chaps. 5-13.</p>
+</div>
+
+<p>It may be well to state, in connection with the
+selection of stories from the Bible for dramatization,
+that other stories outside of the Bible may<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+be dramatized by these same methods and will
+accomplish the same results. It is not best to
+allow children to dramatize in succession too many
+of the heavier type of stories, such as the Bible
+stories represent. They may become tired if they
+work too long at the same kind of dramatization.
+Children need stories which will lighten and relieve
+the extreme seriousness and dignity which they
+necessarily have to express in playing the Bible
+stories. There is a host of fairy tales, folk-tales,
+and historical incidents that may well be adapted
+for this purpose.</p>
+
+<p><i>The Children's Educational Theatre</i>, by Alice
+Minnie Herts, describes dramatic work with children
+older than those who made the plays in this
+book. It is an interesting experiment in education
+which uses dramatization as a means for accomplishing
+certain aims.</p>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII<br /><br />
+
+STAGE SETTING AND PROPERTIES</h2>
+
+
+<p>The point has been emphasized in the preceding
+chapters that very little stage setting and only a
+few properties are used in connection with these
+dramatizations. It is always best that as much as
+possible should be left to the imagination, and that
+only such setting and properties be used as the
+children themselves can construct and as are needed
+to produce the atmosphere of the play. This point
+of view influences any consideration of these
+matters.</p>
+
+<p>It is frequently true that, after the children have
+made the articles they find a need for, the results
+are very crude, and there is yet much opportunity
+for free play of the imagination. Great benefit
+is derived, however, through the construction of
+these objects. The children gain a clearer understanding
+and a keener appreciation of them after
+they have had the experience of trying to express
+the shape or form through some medium, such as
+clay-modeling, paper-cutting, drawing.</p>
+
+<p>Care should be taken that children make nothing
+in the nature of stage scenery, such as trees, grass,
+bulrushes, and other bits of landscape. The only<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
+stage setting which seems at all necessary for them
+to make involves very simple designs which show
+the characteristic ornamentation of the times, for
+example, the lotus and papyrus designs in Pharaoh's
+court.</p>
+
+<p>Drawings and descriptions of a few of the most
+essential stage properties and settings are given
+below, with suggestions as to where and how each
+may be used.</p>
+
+<p><i>Water jugs and dishes.</i>&mdash;In the earlier stages of
+Hebrew history&mdash;as is found to be the case with
+all primitive shepherd people&mdash;skins and wooden
+bowls were used for holding water, milk, and food.
+Clay vessels were probably not in general use
+during the nomadic period. When dramatizing
+the stories of Abraham and Isaac, and others of
+that period, this fact should be taken into account,
+and only vessels of wood and skin should be
+used.</p>
+
+<p>Most of the clay utensils, which are mentioned
+in the stories of a later time, were shaped like those
+shown in <a href="#fig10">Fig. 10</a>. Many of the water jugs had
+small handles, though some were without handles.
+<a href="#fig11">Fig. 11</a> shows the position in which a Hebrew woman
+usually carried her water jug.</p>
+
+<p>The Hebrews had little interest in the aesthetic
+except in the realm of literature, and the lack is
+very evident in their pottery. The water jugs are
+far from having the beauty of line and proportion<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
+which is found in Greek pottery. Whenever any
+of these vessels are needed for use in a dramatization,
+it is well to have the children bring jars and
+bowls from home which conform as nearly as
+possible to the shapes here given. Earthenware
+bowls and jars may be used effectively.</p>
+
+<div class="figcenter" style="width: 427px;">
+<a name="fig10" id="fig10"></a>
+<img src="images/i_146.png" width="427" height="500" alt="Fig. 10.&mdash;WATER JUGS,
+DRINKING BOTTLE, COOKING POT, MILK JUG, DISH, WATER JUG" title="Fig. 10.&mdash;WATER JUGS,
+DRINKING BOTTLE, COOKING POT, MILK JUG, DISH, WATER JUG"/>
+<span class="caption"><span class="smcap">Fig. 10.</span>&mdash;WATER JUGS,<br />
+DRINKING BOTTLE, COOKING POT, MILK JUG, DISH,<br />
+WATER JUG</span>
+</div>
+<p><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+<p><i>Wells.</i>&mdash;The importance of wells in the life of
+the early Hebrews cannot be overemphasized.
+The scarcity of water in the desert made the digging
+of wells a necessity for the survival of people and
+of flocks. As much of the
+land was rocky, wells could
+be dug only at certain places.
+These favorable places were
+the means of determining
+where the tents were to be
+pitched. In most of the
+stories of the nomadic life
+wells play a conspicuous
+part.</p>
+
+<div class="figcenter" style="width: 221px;">
+<a name="fig11" id="fig11"></a>
+<img src="images/i_147.png" width="221" height="400"  alt="Fig. 11.&mdash;WOMAN CARRYING WATER JUG"  title="Fig. 11.&mdash;WOMAN CARRYING WATER JUG" />
+<span class="caption"><span class="smcap">Fig. 11</span>.&mdash;WOMAN CARRYING WATER JUG</span>
+</div>
+
+<p>Children should have correct
+mental pictures of those
+ancient wells, so that they
+do not confuse them with the
+modern wells. The wells of
+Palestine usually had low
+stone walls around them, and often big flat stones
+for covers. The rocks were piled high enough
+to keep animals from falling in. In some of the
+wells the water was so low in the ground that
+people had to go down steps on the inside in
+order to get it. In other wells the vessels were
+let down by means of ropes. The women of the
+land were always required to draw and carry the
+water.</p><p><span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span></p>
+
+<p>The simplest way for children to represent a
+well on the stage is by piling up rocks to resemble
+the outside or by using something that will look
+like a great stone. <a href="#fig12">Fig. 12</a> shows two kinds of
+wells in Palestine.</p>
+
+<div class="figcenter" style="width: 345px;">
+<a name="fig12" id="fig12"></a>
+<img src="images/i_148.png" width="345" height="400"  alt="Fig. 12.&mdash;ANCIENT WELLS IN PALESTINE"  title="Fig. 12.&mdash;ANCIENT WELLS IN PALESTINE" />
+<span class="caption"><span class="smcap">Fig. 12.</span>&mdash;ANCIENT WELLS IN PALESTINE</span>
+</div>
+
+<p><i>Staff and rod.</i>&mdash;The
+shepherd boy
+always had with him
+a rod and a staff
+(<a href="#fig13">Fig. 13</a>). The rod
+was about two and a
+half feet long and
+was used for protection.
+The thick
+knob at the end was
+cut out of the tree
+from which the limb
+came, and was frequently
+covered
+with knots or nails to make it more terrible as a
+weapon. The children may find pieces of wood
+which will serve the purpose, or if they live near
+a forest they may make their own rods.</p>
+
+<p>The staff was usually about five feet long. The
+shepherd used it to help him climb hills and mountains
+and also to keep the sheep from straying.
+Some staffs were nothing more than the straight
+limbs of trees; others had a fork or crook at the
+end so that they could more easily catch into the<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>
+wool of the sheep when they needed guiding. Children
+may use long sticks or branches from trees
+when they represent staffs.</p>
+
+<div class="figcenter" style="width: 379px;">
+<a name="fig13" id="fig13"></a>
+<img src="images/i_149.png" width="379" height="500" alt="Fig. 13.&mdash;SPEARS, SWORDS, STAFF,
+ROD, ARROWS, BOW" title="Fig. 13.&mdash;SPEARS, SWORDS, STAFF,
+ROD, ARROWS, BOW"/>
+<span class="caption"><span class="smcap">Fig. 13.&mdash;</span>SPEARS, SWORDS, STAFF,<br />
+ROD, ARROWS, BOW</span>
+</div>
+
+<p><i>Sling.</i>&mdash;The sling which was used in David's
+time was frequently woven of rushes, hair, or
+sinews; sometimes it was made from soft leather.
+From <a href="#fig14">Fig. 14 </a>it will be seen that the shape of the
+woven part is wider in the middle and comes to a
+point at the end. A string was tied to each end
+and the stone was placed in the wide part. The<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
+sling was whirled around over the head, and as
+one string was let loose the stone flew out. When
+the sling is used in a dramatization, the stone may
+be left to the imagination.</p>
+
+<div class="figcenter" style="width: 361px;">
+<a name="fig14" id="fig14"></a>
+<img src="images/i_150.png" width="361" height="400" alt="Fig. 14.&mdash;A SHEPHERD'S SLING,
+A SIMPLE LOOM&mdash;MADE FROM CARDBOARD" title="Fig. 14.&mdash;A SHEPHERD&#39;S SLING,
+A SIMPLE LOOM&mdash;MADE FROM CARDBOARD"/>
+<span class="caption"><span class="smcap">Fig. 14.</span>&mdash;A SHEPHERD&#39;S SLING<br />
+A SIMPLE LOOM&mdash;MADE FROM CARDBOARD</span>
+</div>
+
+<p>Children take great pleasure in trying to weave
+this sling. A diagram of a simple cardboard loom
+is given in <a href="#fig14">Fig. 14</a>. The shape should be drawn
+on the cardboard, then holes made for the thread
+which strings up the loom. Coarse woolen yarn
+may be used for the weaving.</p>
+
+<p><i>Shepherd bag.</i>&mdash;The shepherd bag which was
+used by David was carried by every shepherd boy
+along with the staff, rod, and sling. It was made<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span>
+from a piece of skin with a cord at each end. The
+cords were fastened to the girdle so that the skin
+formed a kind of bag. Pebbles for the sling were
+carried in it, and often supplies of food. A piece
+of leather or of brown cloth may be easily made into
+one of these bags for the children to use.</p>
+
+<p><i>Sickles.</i>&mdash;Sickles were of
+two kinds&mdash;those made of
+metal and those made
+of wood. The wooden ones
+were toothed with sharp
+pieces of flint. <a href="#fig15">Fig. 15</a> gives
+the characteristic shapes.</p>
+
+<div class="figcenter" style="width: 266px;">
+<a name="fig15" id="fig15"></a>
+<img src="images/i_151.png" width="266" height="300" alt="Fig. 15.&mdash;SICKLES" title="Fig. 15.&mdash;SICKLES" />
+<span class="caption"><span class="smcap">Fig. 15.</span>&mdash;SICKLES</span>
+</div>
+
+<p>Children may represent
+these sickles by cutting the
+shapes from stiff cardboard
+and coloring them some dark color to make them
+look as if they were wood or metal. Some of the
+boys may be interested in cutting sickles directly
+out of wood.</p>
+
+<p><i>Scepter.</i>&mdash;The scepter was used by kings in the
+later history of the Hebrews. It was nothing
+more than a development of the rod used in the
+shepherd period. As a rod it was a means of protection
+and power over enemies, and as a scepter it
+was a symbol of the same power. Scepters were
+sometimes short, with much ornamentation; others
+were long, probably five feet in length. They
+were all characterized by a ball at the end, and in<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span>
+many cases the kings had them made from gold,
+or richly ornamented with gold. The Persian
+kings used the long scepter, which therefore is
+the kind most appropriate for the play of Esther
+(see <a href="#fig16">Fig. 16</a>).</p>
+
+<p><i>Tents.</i>&mdash;The ancient Hebrew tent was much like
+the modern Bedouin tent. It was low and spread
+out over the ground, and was made of black goat's
+hair cloth. This cloth was usually stretched over
+nine poles, arranged in rows of three and from six
+to seven feet in height. The inside of the tent
+was divided into two parts by a long curtain which
+hung across the middle.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig16" id="fig16"></a>
+<img src="images/i_152.png" width="600" height="124" alt="Fig. 16.&mdash;SCEPTER" title="Fig. 16.&mdash;SCEPTER"/>
+<span class="caption"><span class="smcap">Fig. 16.</span>&mdash;SCEPTER</span>
+</div>
+
+<p>A tent may be represented on the stage by placing
+a big thick cloth (a blanket or canvas or dark
+curtain) over poles or screens.</p>
+
+<p><i>Shields.</i>&mdash;There were two kinds of shields found
+among the Hebrews. One was very large and
+covered a man from head to foot; it was usually
+carried by a shield-bearer. The other was small
+and was sometimes called a buckler. Many
+different shapes were found in both kinds of shields;
+some were like the Egyptian&mdash;long, broad, and
+straight at the bottom; others were round and<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
+oblong. All shields were convex with handles
+on the inside to hold them by. The kings had
+shields covered with gold, or decorated with gold
+and precious stones;
+but the common
+soldier had a shield of
+wood or stiff leather.
+Leather formed the
+basis of the shields
+that were decorated.
+<a href="#fig17">Fig. 17</a> will show
+drawings of some of
+the typical shapes.
+Children can easily
+make shields out of
+cardboard; some may
+be covered with gold
+paper or with dark-brown
+paper. A
+handle may be glued
+or sewed in the inside
+so that the shield may
+be held without
+trouble.</p>
+
+<div class="figcenter" style="width: 269px;">
+<a name="fig17" id="fig17"></a>
+<img src="images/i_153.png" width="269" height="500" alt="Fig. 17.&mdash;SHIELDS,
+FRONT AND SIDE VIEWS" title="Fig. 17.&mdash;SHIELDS,
+FRONT AND SIDE VIEWS"/>
+<span class="caption"><span class="smcap">Fig. 17.</span>&mdash;SHIELDS<br />
+FRONT AND SIDE VIEWS</span>
+</div>
+
+<p><i>Swords.</i>&mdash;The sword was always hung from the
+left side of the sword-belt. It was made from
+bronze or iron, and was about seventeen inches
+long. <a href="#fig13">Fig. 13</a> shows some of the usual shapes.
+Many swords were two-edged and had leather<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
+sheaths in which they were carried. Children may
+make these out of stiff cardboard, or out of thin
+wood. They should be colored a dark color, and
+the hilts may be decorated with bright colors to
+represent jewels.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig18" id="fig18"></a>
+<img src="images/i_154.png" width="600" height="306" alt="Fig. 18.&mdash;TRUMPETS" title="Fig. 18.&mdash;TRUMPETS"/>
+<span class="caption"><span class="smcap">Fig. 18.</span>&mdash;TRUMPETS</span>
+</div>
+
+<p><i>Spears.</i>&mdash;Spears averaged about five feet in
+length. The javelin was a long, heavy spear used
+for casting; the lance was a lighter spear used for
+defense. All spears had a shaft of wood and a
+metal or stone point. <a href="#fig13">Fig. 13</a> gives several of the
+characteristic shapes of spear-points. Spears may
+be made by fastening cardboard points to long
+sticks, or by cutting the point directly out of the
+wood.</p>
+
+<p><i>Bows and arrows.</i>&mdash;The bows and arrows of the
+Hebrews were very much like those of all other
+primitive peoples. The bows were often four or
+five feet long and the arrows were pointed with
+sharp flint or metal. Illustrations of the shapes
+are found in <a href="#fig13">Fig. 13</a>. Children need little direction<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>
+in the making of these weapons, a string and some
+pliable wood being all that is necessary.</p>
+
+<p><i>Trumpets.</i>&mdash;<a href="#fig18">Fig. 18</a> illustrates the kinds of
+trumpets used. The small ram's-horn trumpet
+was associated with the feasts and other public
+celebrations, while the long metal horn was used
+for the most part by the priests. These metal
+trumpets were frequently made from hammered
+silver. Children can make them out of stiff paper
+or thin cardboard and cover them with silver
+paper.</p>
+
+<div class="figleft" style="width: 250px;">
+<a name="fig19" id="fig19"></a>
+<img src="images/i_155a.png" width="250" height="165" alt="Fig. 19.&mdash;SIGNET RING" title="Fig. 19.&mdash;SIGNET RING" />
+<span class="caption"><span class="smcap">Fig. 19.</span>&mdash;SIGNET RING</span>
+</div>
+
+<div class="figright" style="width: 350px;">
+<a name="fig20" id="fig20"></a>
+<img src="images/i_155b.png" width="350" height="159" alt="Fig. 20.&mdash;LAMP" title="Fig. 20.&mdash;LAMP" />
+<span class="caption"><span class="smcap">Fig. 20.</span>&mdash;LAMP</span>
+</div>
+
+<p><i>Signet ring.</i>&mdash;A signet ring is something that the
+kings were never without. In the earlier times
+it was worn on a chain which hung from the neck;
+later it was worn on the finger. <a href="#fig19">Fig. 19</a> gives a
+drawing of a signet ring. The design was raised
+so that it left an imprint. The king used this
+imprint as his royal signature instead of signing
+his name. When a signet ring is needed in a
+dramatization, as is the case in <i>Daniel in the Lions'
+Den</i>, any large ring may be used, or the children<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span>
+may be interested in making a ring from paper or
+cardboard.</p>
+
+<p><i>Lamps.</i>&mdash;<a href="#fig20">Fig. 20</a> shows one of the simpler types
+of lamps used at the time of Christ. This was
+probably the kind referred to in the parable of the
+Wise and Foolish Virgins.
+The lamps
+were terra cotta and
+held a very little oil.
+Children will be
+interested in making
+these lamps out of
+clay or plasticene.
+They are almost in
+the shape of a shallow
+bowl with a handle.</p>
+
+<div class="figcenter" style="width: 318px;">
+<a name="fig21" id="fig21"></a>
+<img src="images/i_156.png" width="318" height="400" alt="Fig. 21.&mdash;EGYPTIAN DESIGN" title="Fig. 21.&mdash;EGYPTIAN DESIGN"/>
+<span class="caption"><span class="smcap">Fig. 21.</span>&mdash;EGYPTIAN DESIGN</span>
+</div>
+
+<p><i>Egyptian design.</i>&mdash;In
+the scenes placed
+in Pharaoh's court a
+few decorations suggestive
+of the Egyptian will add interest. <a href="#fig21">Fig. 21</a>
+gives some of the simpler designs which the children
+may use for ornamentation. The servants may
+carry the large fan-shaped designs, which they make
+on stiff paper. These designs were made from the
+lotus and the papyrus plants; the leaves were
+usually a blue-green, and red, blue, yellow, white,
+and black were used in many designs. <a href="#fig21">Fig. 21</a>
+shows some of these designs that were made by the
+children and used in representing Pharaoh's court.</p><p><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span></p>
+
+<div class="figcenter" style="width: 390px;">
+<a name="fig22" id="fig22"></a>
+<img src="images/i_157.png" width="390" height="500" alt="Fig. 22.&mdash;HELMETS, CROWNS,
+ASSYRIAN, EGYPTIAN, EGYPTIAN" title="Fig. 22.&mdash;HELMETS, CROWNS,
+ASSYRIAN, EGYPTIAN, EGYPTIAN"/>
+<span class="caption"><span class="smcap">Fig. 22.</span>&mdash;HELMETS, CROWNS,<br />
+ASSYRIAN, EGYPTIAN, EGYPTIAN</span>
+</div>
+
+<p>As it may be of interest to those who have access
+to a library to know where more definite and
+detailed information may be secured concerning
+the articles that are but briefly described here, the
+following works are recommended: The <i>New
+Schaff-Herzog Encyclopedia of Religious Knowledge</i>;
+Hastings' <i>Dictionary of the Bible</i>; the <i>Jewish Encyclopedia</i>;
+Kitto, <i>Cyclopedia of Biblical Literature</i>;
+three books by W. M. Thomson&mdash;<i>Central Palestine
+and Phoenicia</i>, <i>Southern Palestine and Jerusalem</i>,
+<i>Lebanon, Damascus, and beyond Jordan</i>; Elmendorf,
+<i>A Camera Crusade through the Holy Land.</i></p>
+
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p>
+<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV<br /><br />
+
+COSTUMING</h2>
+
+
+<p>The question of costuming may be dealt with
+in much the same manner as that of stage setting
+and properties. Costumes are unnecessary in
+many of the simpler plays, and even where they
+are used they should be so treated that they are
+of minor importance in the minds of the children.
+It is nearly always the case that the very smallest
+suggestion of a costume&mdash;a sash or a cloth around
+the head&mdash;is satisfying and sufficient to produce
+the proper atmosphere of the play. There is
+danger of placing so much emphasis upon this
+phase of the work that the children attach undue
+importance to it and thus lose the real spirit of the
+dramatization.</p>
+
+<p>If costumes are used they should not be saved
+for the final performance, but the children should
+have the pleasure of wearing them at each practice
+where they are actually living over and over the
+lives of other people. Children should get their
+ideas of the dress of the times from pictures and
+descriptions and then in very simple ways try to
+represent what they have observed. The simplicity
+of the costumes among the Hebrew people
+makes the problem comparatively simple.</p><p><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig23" id="fig23"></a>
+<img src="images/i_159.jpg" width="600" height="348" alt="Fig. 23.&mdash;A group of children, showing costumes and a trumpet" title="Fig. 23.&mdash;A group of children, showing costumes and a trumpet"/>
+<span class="caption"><span class="smcap">Fig. 23.</span>&mdash;A group of children, showing costumes and a trumpet</span>
+</div>
+<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span></p>
+
+<p>There is very little definite knowledge about the
+exact costume of the ancient Israelites, for they
+have left no records. The only sources of information
+on the subject are the few references to dress
+in the Old Testament and the few Jewish figures
+found among the Egyptian, Assyro-Babylonian,
+and Persian carvings. The conclusion has been
+reached, however, that the ancient Hebrew costume
+was in general similar to that of the modern
+Arab.</p>
+
+<p>It is fairly certain that among the earliest tribes
+a simple slip or short tunic, with close-fitting
+sleeves, was worn. Later a big loose mantle was
+usually thrown over this slip. The little under-garment
+was white, woven from wool, or sometimes
+made out of skins; the outer garment was
+frequently striped, a bright color with white.
+Among the old patriarchs the outside cloak reached
+to the ground. It was often in the shape of a
+blanket, and was draped by throwing one end over
+the left shoulder, then passing it across the front
+of the body and under the right arm, then across
+the back, and to the left shoulder again.</p>
+
+<p>At a still later period there was the long gown,
+which reached to the ankles and was belted in at
+the waist by a girdle. This was sometimes covered
+by an outside robe which was like a cape. Frequently
+these garments were brought over the
+heads in order to protect their wearers from the sun.</p><p><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+
+<p>As a rule the servants and lower class of people
+wore only the one garment&mdash;a short tunic, with or
+without a girdle. The richer men wore the outside
+cloaks. Kings and nobles had many kinds of
+cloaks which were very elaborately decorated.
+They had silk girdles, while the poorer men wore
+leather girdles. See <a href="#fig23">Figs. 23</a>-<a href="#fig27">27</a> for costumes
+made by the children.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig24" id="fig24"></a>
+<img src="images/i_161.jpg" width="600" height="564" alt="Fig. 24.&mdash;The costume of Abraham" title="Fig. 24.&mdash;The costume of Abraham"/>
+<span class="caption"><span class="smcap">Fig. 24.</span>&mdash;The costume of Abraham</span>
+</div>
+
+
+<p>The women's dress was very much the same as
+that worn by the men. All garments may have<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>
+been a little longer, but the draping and the kinds
+of garments were the same. Great ladies had
+beautiful veils and shawls.</p>
+
+<div class="figcenter" style="width: 528px;">
+<a name="fig25" id="fig25"></a>
+<img src="images/i_162.jpg" width="528" height="600" alt="Fig. 25.&mdash;Two kinds of costumes&mdash;the Rich Shepherd and
+the Servant." title="Fig. 25.&mdash;Two kinds of costumes&mdash;the Rich Shepherd and
+the Servant."/>
+<span class="caption"><span class="smcap">Fig. 25.</span>&mdash;Two kinds of costumes&mdash;the Rich Shepherd and
+the Servant.</span>
+</div>
+
+<p>Both men and women wore sandals. The soles
+were made of leather or thick woven cords.
+They were fastened to the feet by means of strings<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+of leather, linen, or of papyrus. Two straps were
+usually attached to the back of the sandal, then
+crossing from the back over the instep they were
+tied to a third strap which was fastened at the
+front and came between the great and second toe.
+<a href="#fig26">Fig. 26</a> shows sandals which were made by the
+children.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig26" id="fig26"></a>
+<img src="images/i_163.jpg" width="600" height="538" alt="Fig. 26.&mdash;Costumes, showing sandals made by the children" title="Fig. 26.&mdash;Costumes, showing sandals made by the children"/>
+<span class="caption"><span class="smcap">Fig. 26.</span>&mdash;Costumes, showing sandals made by the children</span>
+</div>
+
+<p>The headdress in the earlier days was nothing
+more than a piece of square cloth, folded diagonally
+and placed over the head with the long point at the
+back; the two ends were then crossed under the<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>
+chin and thrown back over the shoulders. A cord
+was tied around the head to keep the cloth on.
+Later a kind of turban was worn which had no
+loose ends, but which projected over the face
+enough to protect one from the sun. <a href="#fig23">Figs. 23</a>-<a href="#fig25">25</a>
+give examples of different kinds of headdress made
+by the children.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig27" id="fig27"></a>
+<img src="images/i_164.jpg" width="600" height="504" alt="Fig. 27.&mdash;Costumes" title="Fig. 27.&mdash;Costumes"/>
+<span class="caption"><span class="smcap">Fig. 27.</span>&mdash;Costumes</span>
+</div>
+
+<p>The crowns which the kings wore were frequently
+of gold, studded with jewels, although the Persian
+king had a stiff cap of felt or cloth, encircled by a
+blue and white band. <a href="#fig22">Fig. 22</a> gives a few of the
+typical shapes for crowns.</p><p><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span></p>
+
+<p>The helmets which were worn by the soldiers
+were varied. The shapes employed by the Assyrians
+and the Egyptians were probably used
+among the Hebrews. See <a href="#fig22">Fig. 22</a> for drawings of
+some of the best-known helmets. Children may
+make these easily by using cardboard and gilt
+paper.</p>
+
+<p>The Hebrew men and women had many personal
+ornaments, such as necklaces, armlets, bracelets,
+rings. Children delight in making all kinds of
+bracelets and chains from gold and silver paper.
+They may bring all the bright-colored beads that
+they can get for the enrichment of the costume.</p>
+
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span></p>
+<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV<br /><br />
+
+THE ORGANIZATION OF A CHURCH
+DRAMATIC CLUB</h2>
+
+
+<p>The kind of dramatics described in this book
+may be undertaken with success in connection with
+any Sunday school. The most necessary element
+is a leader in charge who is wide awake to the aims
+and purposes of such work and who has the ability
+to deal with little children. A trained teacher is
+preferable.</p>
+
+<p>This dramatization can be most effectively
+presented to children between the ages of six and
+thirteen. In case the Sunday school is very large
+and more children join than can be easily managed
+by one leader, it would be best to divide the members
+into two or three smaller groups, each with a
+competent leader in charge. One person should
+be able to handle well from twenty to twenty-five
+children.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p>This training ought not to stop with younger
+children, but may well be carried on with pupils
+of high-school age. This would involve problems
+<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>slightly different from those here presented, but
+on the whole the same aims may be achieved.</p>
+
+<p>It is sometimes the case that a few of the children
+outgrow the club. They begin to realize
+that they are much larger than the others, and they
+decide that they do not care to take part in the
+acting, yet they are still interested enough to come
+to the meetings. If there is no other dramatic
+club into which they may go, then they may be
+used as assistants in the younger club and made to
+feel that they are a necessary part of it. There
+are many ways in which they can be of valuable
+help to the leader, at the same time experiencing
+a development through the training.</p>
+
+<p>During one year in the history of the dramatic
+club here described three girls of fourteen came
+regularly to the meetings. They could not be
+persuaded to take part in the dramatizations, but
+they expressed an eagerness to help in the direction.
+They entered into the discussion and criticism of
+the plays that were being acted each Sunday, and
+their suggestions were always very much to the
+point. They had the ability of explaining what
+they meant to the children so that it was easily
+understood. These girls would write out the
+scenes, sometimes while the children were actually
+giving them; or, again, they would write them at
+home and bring them for discussion at the next
+meeting. They took entire charge of the costuming,<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span>
+and would meet outside at sewing-bees, where
+they mended, pieced, or made over the costumes on
+hand. Then at the plays they always took the
+responsibility of dressing the little children, putting
+on their headdresses, tying their sashes, and seeing
+that their costumes were draped in the right way.</p>
+
+<p>When a dramatic club is first started, it is
+advisable to dignify the organization by electing a
+president and secretary from among the children.
+The president may take charge of the meetings
+and then turn them over to the director, and may
+help in many ways to keep the club together. The
+secretary may call the roll and be responsible for
+sending notices to the members. Children always
+delight in this amount of formality, and through
+it each one becomes a much more vital part of the
+group; the responsibility as far as possible is
+placed upon the children, and they usually rise to
+meet it.</p>
+
+<p>It is hardly practical in most cases to attempt
+to hold more than one meeting a week. The time
+should be set according to the convenience of the
+majority of the members. Sunday afternoon was
+found to be the best time for this little club to
+meet, but any week day will do as well. Occasionally,
+just before a play is to be given, a few call
+meetings may be necessary.</p>
+
+<p>It is desirable that the club own the simple
+costumes which the members wear. A costume<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>
+box is a convenient place for keeping them. The
+same garments may be used over and over again,
+and should be kept where they may be easily
+obtained at each meeting. The older girls in the
+group will be glad to take charge of the costume
+box, and they should see that all of the garments are
+kept in order. The supply of costumes will grow,
+for children will be constantly bringing new things
+to add to it.</p>
+
+<p>There are various methods of getting a number of
+costumes on hand. The children may bring from
+home old sheets and bright-colored shawls and
+ribbons, which may be used to advantage. Often
+the Sunday school will appropriate a small sum
+in order to help buy materials. A very small
+amount of money need be spent, for the costumes
+must be extremely simple and they should be
+planned and made by the children.</p>
+
+<p>The construction work which the children do
+in connection with the dramatization is an important
+part in the working out of a play. As already
+noted, the greatest value of it lies in the fact that
+it represents the efforts of the children. There is
+hardly time at one of the regular meetings to have
+the construction work done. A discussion of the
+articles needed may be necessary, after which the
+children should be encouraged to make them at
+home. The older ones are able to look up pictures
+and descriptions which will help, while the younger<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>
+ones need to have the matter frequently talked
+over in order to give them the correct mental
+pictures of what they are to make. It is always
+surprising to see how readily children take hold of
+this kind of work. They bring in very many
+interesting things which they have made&mdash;often
+things which they have thought out for themselves
+and which they had not been asked to make.
+There are times when all the members are working
+on the same problem, such as lamps for the Wise
+and Foolish Virgins. It may be best under these
+circumstances to have a meeting outside where they
+all work together. (Descriptions of these constructed
+articles may be found in a previous
+chapter.)</p>
+
+<p>A word of warning may be in place at this point.
+Parents of the children are usually anxious and
+eager to help in making costumes and the constructed
+objects. The very best aid that they can
+give is to see that the children have the opportunity
+for making these things themselves; they
+may encourage and guide wisely, but the finished
+product must be the child's, not the mother's.
+Some mothers have thought that they were doing
+the right thing to have a carpenter make the spears
+and other weapons for the soldier. The boy derives
+more benefit if he looks around for some sticks
+which will serve his purpose, no matter how crude
+they may be.</p><p><span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span></p>
+
+<p>The order in which plays are given in this book
+should not be taken as the proper sequence for a
+dramatic club. The story of <i>Joseph</i> is described
+in detail first because the method used there may
+be followed with any of the shorter or longer
+stories. This particular story, however, should
+not be the first one presented to children who have
+never had such work before. Such stories as
+<i>David and Goliath</i>, <i>Abraham and the Three Guests</i>,
+or any of the parables should come first. <i>Joseph</i>,
+<i>Ruth</i>, and <i>Esther</i> are well worked out by children
+after they have had a little experience with dramatization.</p>
+
+<p>As a final summary, let it be ever kept in mind
+that this dramatization functions as a factor in
+religious education only when the highest development
+of the children is the aim. It should be so
+conducted that it forms an essential part of the
+religious training of the Sunday school, and also
+one of the valuable activities of the church.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> In church schools which are organizing on the most approved
+methods of the correlation of all educational activities the
+dramatic club may be a regular part of the junior department,
+similar clubs being integral parts of the other departments.</p></div>
+</div>
+
+
+<hr class="chap" />
+<h2><a name="IND" id="IND"></a>INDEX</h2>
+<hr class="chap" /><p><span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span></p>
+
+
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+<p>
+Aaron, <a href="#Page_55"><b>55</b></a><br />
+<br />
+<i>Abraham</i>, the dramatization of, <a href="#Page_84"><b>84</b></a>-<a href="#Page_92"><b>92</b></a>, <a href="#Page_118"><b>118</b></a><br />
+<br />
+Ahasuerus, king of Media and Persia, <a href="#Page_70"><b>70</b></a>-<a href="#Page_83"><b>83</b></a><br />
+<br />
+Aims of dramatization, <a href="#Page_5"><b>5</b></a>, <a href="#Page_9"><b>9</b></a>-<a href="#Page_10"><b>10</b></a><br />
+<br />
+Amos, the prophet, <a href="#Page_127"><b>127</b></a><br />
+<br />
+Angels, <a href="#Page_85"><b>85</b></a>, <a href="#Page_90"><b>90</b></a><br />
+<br />
+Armor and weapons, <a href="#Page_50"><b>50</b></a>, <a href="#Page_138"><b>138</b></a>-<a href="#Page_140"><b>140</b></a>, <a href="#Page_151"><b>151</b></a><br />
+<br />
+<br />
+Bag, shepherd, <a href="#Page_136"><b>136</b></a><br />
+<br />
+Banquet, Queen Esther's, <a href="#Page_69"><b>69</b></a>, <a href="#Page_80"><b>80</b></a><br />
+<br />
+Belshazzar, <a href="#Page_125"><b>125</b></a><br />
+<br />
+Boaz, <a href="#Page_64"><b>64</b></a>-<a href="#Page_66"><b>66</b></a><br />
+<br />
+Bow and arrow, <a href="#Page_140"><b>140</b></a><br />
+<br />
+<br />
+Cardboard, use of, <a href="#Page_45"><b>45</b></a>, <a href="#Page_60"><b>60</b></a>, <a href="#Page_151"><b>151</b></a><br />
+<br />
+Citizens of Bethlehem, <a href="#Page_65"><b>65</b></a><br />
+<br />
+Clay, use of, <a href="#Page_100"><b>100</b></a>, <a href="#Page_131"><b>131</b></a>, <a href="#Page_142"><b>142</b></a><br />
+<br />
+Cloak, outer garment, <a href="#Page_146"><b>146</b></a><br />
+<br />
+Conspirators, <a href="#Page_94"><b>94</b></a>-<a href="#Page_97"><b>97</b></a><br />
+<br />
+Construction work, <a href="#Page_45"><b>45</b></a>, <a href="#Page_60"><b>60</b></a>, <a href="#Page_130"><b>130</b></a>-<a href="#Page_143"><b>143</b></a><br />
+<br />
+Costumes, <a href="#Page_45"><b>45</b></a>;<br />
+<span style="margin-left: 1em;">the making of, <a href="#Page_144"><b>144</b></a>-<a href="#Page_151"><b>151</b></a>;</span><br />
+<span style="margin-left: 1em;">the method of obtaining, <a href="#Page_155"><b>155</b></a></span><br />
+<br />
+Crowns, <a href="#Page_150"><b>150</b></a><br />
+<br />
+<br />
+<i>Daniel</i>, the dramatization of, <a href="#Page_93"><b>93</b></a>-<a href="#Page_97"><b>97</b></a>, <a href="#Page_122"><b>122</b></a>, <a href="#Page_125"><b>125</b></a><br />
+<br />
+Darius, <a href="#Page_93"><b>93</b></a>-<a href="#Page_95"><b>95</b></a><br />
+<br />
+<i>David</i>, <a href="#Page_44"><b>44</b></a>;<br />
+<span style="margin-left: 1em;">the dramatization of, <a href="#Page_46"><b>46</b></a>-<a href="#Page_51"><b>51</b></a>, <a href="#Page_128"><b>128</b></a></span><br />
+<br />
+Design, Egyptian, <a href="#Page_142"><b>142</b></a><br />
+<br />
+Diagram of loom, <a href="#Page_45"><b>45</b></a>, <a href="#Page_136"><b>136</b></a><br />
+<br />
+Dishes, <a href="#Page_131"><b>131</b></a><br />
+<br />
+<br />
+Education, religious, <a href="#Page_6"><b>6</b></a>-<a href="#Page_8"><b>8</b></a>, <a href="#Page_157"><b>157</b></a><br />
+<br />
+Elijah, <a href="#Page_120"><b>120</b></a>-<a href="#Page_121"><b>121</b></a><br />
+<br />
+Elisha, <a href="#Page_122"><b>122</b></a><br />
+<br />
+<i>Esther</i>, the dramatization of, <a href="#Page_68"><b>68</b></a>-<a href="#Page_83"><b>83</b></a><br />
+<br />
+<br />
+Feast, <a href="#Page_80"><b>80</b></a>, <a href="#Page_115"><b>115</b></a>-<a href="#Page_116"><b>116</b></a><br />
+<br />
+Fiery furnace, <a href="#Page_123"><b>123</b></a>-<a href="#Page_124"><b>124</b></a><br />
+<br />
+<br />
+Gibeonites, <a href="#Page_116"><b>116</b></a>-<a href="#Page_117"><b>117</b></a><br />
+<br />
+Girdle, <a href="#Page_146"><b>146</b></a><br />
+<br />
+Gleaners, <a href="#Page_63"><b>63</b></a><br />
+<br />
+Goliath, <a href="#Page_44"><b>44</b></a>, <a href="#Page_48"><b>48</b></a>, <a href="#Page_51"><b>51</b></a><br />
+<br />
+<br />
+Haman, <a href="#Page_71"><b>71</b></a>-<a href="#Page_74"><b>74</b></a><br />
+<br />
+Harvest, <a href="#Page_59"><b>59</b></a>, <a href="#Page_61"><b>61</b></a><br />
+<br />
+Headdress, <a href="#Page_69"><b>69</b></a>, <a href="#Page_144"><b>144</b></a>, <a href="#Page_150"><b>150</b></a><br />
+<br />
+Helmet, <a href="#Page_143"><b>143</b></a>, <a href="#Page_151"><b>151</b></a><br />
+<br />
+<br />
+Innkeeper, <a href="#Page_105"><b>105</b></a><br />
+<br />
+Isaac, <a href="#Page_118"><b>118</b></a>-<a href="#Page_120"><b>120</b></a><br />
+<br />
+Isaiah, <a href="#Page_128"><b>128</b></a><br />
+<br />
+<br />
+Jacob, <a href="#Page_18"><b>18</b></a>, <a href="#Page_112"><b>112</b></a><br />
+<br />
+Jael, <a href="#Page_112"><b>112</b></a><br />
+<br />
+Jephthah, <a href="#Page_112"><b>112</b></a><br />
+<br />
+Jeremiah, <a href="#Page_128"><b>128</b></a><br />
+<br />
+Jericho, <a href="#Page_103"><b>103</b></a><br />
+<br />
+Jerusalem, <a href="#Page_103"><b>103</b></a><br />
+<br />
+Job, <a href="#Page_126"><b>126</b></a><br />
+<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span><br />
+Jonathan, <a href="#Page_128"><b>128</b></a><br />
+<br />
+<i>Joseph</i>, the story of, <a href="#Page_17"><b>17</b></a>-<a href="#Page_25"><b>25</b></a>;<br />
+<span style="margin-left: 1em;">the dramatization of, <a href="#Page_34"><b>34</b></a>-<a href="#Page_43"><b>43</b></a></span><br />
+<br />
+Joshua, <a href="#Page_116"><b>116</b></a><br />
+<br />
+<br />
+Lamps, <a href="#Page_99"><b>99</b></a>-<a href="#Page_100"><b>100</b></a>, <a href="#Page_142"><b>142</b></a><br />
+<br />
+Lions, den of, <a href="#Page_93"><b>93</b></a>, <a href="#Page_96"><b>96</b></a>-<a href="#Page_97"><b>97</b></a><br />
+<br />
+Loom, <a href="#Page_45"><b>45</b></a>, <a href="#Page_136"><b>136</b></a><br />
+<br />
+<br />
+Method of presenting dramatization, formal, <a href="#Page_9"><b>9</b></a>;<br />
+<span style="margin-left: 1em;">informal, <a href="#Page_10"><b>10</b></a>-<a href="#Page_16"><b>16</b></a></span><br />
+<br />
+Miriam, <a href="#Page_55"><b>55</b></a><br />
+<br />
+Moab, the land of, <a href="#Page_63"><b>63</b></a><br />
+<br />
+Mordecai, <a href="#Page_72"><b>72</b></a>-<a href="#Page_74"><b>74</b></a><br />
+<br />
+<i>Moses</i>, the dramatization of, <a href="#Page_52"><b>52</b></a>-<a href="#Page_56"><b>56</b></a>, <a href="#Page_128"><b>128</b></a><br />
+<br />
+<br />
+Naomi, <a href="#Page_62"><b>62</b></a>-<a href="#Page_63"><b>63</b></a>, <a href="#Page_66"><b>66</b></a>-<a href="#Page_67"><b>67</b></a><br />
+<br />
+Nebuchadnezzar, <a href="#Page_122"><b>122</b></a>-<a href="#Page_123"><b>123</b></a><br />
+<br />
+<br />
+Organization, of dramatic club, <a href="#Page_7"><b>7</b></a>, <a href="#Page_8"><b>8</b></a>, <a href="#Page_152"><b>152</b></a>-<a href="#Page_157"><b>157</b></a>;<br />
+<span style="margin-left: 1em;">of stories, <a href="#Page_110"><b>110</b></a>-<a href="#Page_111"><b>111</b></a></span><br />
+<br />
+Ornaments, personal, <a href="#Page_151"><b>151</b></a><br />
+<br />
+<br />
+Papyrus, <a href="#Page_142"><b>142</b></a>, <a href="#Page_149"><b>149</b></a><br />
+<br />
+Parables, the dramatization of, <a href="#Page_98"><b>98</b></a>-<a href="#Page_108"><b>108</b></a><br />
+<br />
+Performance, public, <a href="#Page_14"><b>14</b></a>, <a href="#Page_33"><b>33</b></a>, <a href="#Page_90"><b>90</b></a><br />
+<br />
+Pharaoh, <a href="#Page_21"><b>21</b></a>, <a href="#Page_39"><b>39</b></a>, <a href="#Page_54"><b>54</b></a>, <a href="#Page_57"><b>57</b></a>-<a href="#Page_58"><b>58</b></a><br />
+<br />
+Pharaoh's daughter, <a href="#Page_55"><b>55</b></a>-<a href="#Page_58"><b>58</b></a><br />
+<br />
+Pictures, the use of, <a href="#Page_45"><b>45</b></a>, <a href="#Page_84"><b>84</b></a><br />
+<br />
+Plasticene, <a href="#Page_100"><b>100</b></a>, <a href="#Page_142"><b>142</b></a><br />
+<br />
+President of the club, <a href="#Page_154"><b>154</b></a><br />
+<br />
+<i>Prodigal Son, The</i>, dramatization of, <a href="#Page_105"><b>105</b></a>-<a href="#Page_108"><b>108</b></a><br />
+<br />
+Prophets, the, <a href="#Page_126"><b>126</b></a>-<a href="#Page_127"><b>127</b></a><br />
+<br />
+<br />
+Queen of Sheba, <a href="#Page_115"><b>115</b></a>-<a href="#Page_116"><b>116</b></a><br />
+<br />
+<br />
+Reapers, <a href="#Page_63"><b>63</b></a>-<a href="#Page_64"><b>64</b></a><br />
+<br />
+Rebekah, <a href="#Page_118"><b>118</b></a>-<a href="#Page_120"><b>120</b></a><br />
+<br />
+Ring, signet, <a href="#Page_141"><b>141</b></a><br />
+<br />
+<i>Ruth</i>, the dramatization of, <a href="#Page_59"><b>59</b></a>-<a href="#Page_67"><b>67</b></a><br />
+<br />
+<br />
+<i>Samaritan, The Good</i>, the dramatization of, <a href="#Page_103"><b>103</b></a>-<a href="#Page_104"><b>104</b></a><br />
+<br />
+Samson, <a href="#Page_112"><b>112</b></a><br />
+<br />
+Samuel, <a href="#Page_113"><b>113</b></a>-<a href="#Page_114"><b>114</b></a>, <a href="#Page_128"><b>128</b></a><br />
+<br />
+Sandals, <a href="#Page_62"><b>62</b></a>, <a href="#Page_148"><b>148</b></a>-<a href="#Page_149"><b>149</b></a><br />
+<br />
+Sarah, <a href="#Page_85"><b>85</b></a><br />
+<br />
+Saul, <a href="#Page_48"><b>48</b></a>, <a href="#Page_128"><b>128</b></a><br />
+<br />
+Scepter, <a href="#Page_69"><b>69</b></a>, <a href="#Page_78"><b>78</b></a>, <a href="#Page_137"><b>137</b></a><br />
+<br />
+Secretary of the club, <a href="#Page_154"><b>154</b></a><br />
+<br />
+Servant, <a href="#Page_100"><b>100</b></a>, <a href="#Page_108"><b>108</b></a><br />
+<br />
+Shepherd customs, <a href="#Page_84"><b>84</b></a><br />
+<br />
+Shield, <a href="#Page_45"><b>45</b></a>, <a href="#Page_138"><b>138</b></a><br />
+<br />
+Sickles, <a href="#Page_60"><b>60</b></a>, <a href="#Page_137"><b>137</b></a><br />
+<br />
+Sling, <a href="#Page_45"><b>45</b></a>, <a href="#Page_51"><b>51</b></a>, <a href="#Page_135"><b>135</b></a>-<a href="#Page_136"><b>136</b></a><br />
+<br />
+Soldier, <a href="#Page_49"><b>49</b></a>, <a href="#Page_96"><b>96</b></a><br />
+<br />
+Solomon, <a href="#Page_115"><b>115</b></a>-<a href="#Page_116"><b>116</b></a><br />
+<br />
+Spears, <a href="#Page_45"><b>45</b></a>, <a href="#Page_140"><b>140</b></a><br />
+<br />
+Staff, <a href="#Page_45"><b>45</b></a>, <a href="#Page_134"><b>134</b></a><br />
+<br />
+Stage setting, <a href="#Page_84"><b>84</b></a>, <a href="#Page_130"><b>130</b></a><br />
+<br />
+Supper, The Great, <a href="#Page_100"><b>100</b></a><br />
+<br />
+Swords, <a href="#Page_45"><b>45</b></a>, <a href="#Page_139"><b>139</b></a><br />
+<br />
+<br />
+Tents, <a href="#Page_84"><b>84</b></a>, <a href="#Page_138"><b>138</b></a><br />
+<br />
+Trumpets, <a href="#Page_141"><b>141</b></a><br />
+<br />
+Tunic, <a href="#Page_146"><b>146</b></a>-<a href="#Page_147"><b>147</b></a><br />
+<br />
+Turban, <a href="#Page_150"><b>150</b></a><br />
+<br />
+<br />
+<i>Virgins, The Wise and Foolish</i>, the dramatization of, <a href="#Page_99"><b>99</b></a>-<a href="#Page_100"><b>100</b></a><br />
+<br />
+<br />
+Water jugs, <a href="#Page_131"><b>131</b></a>-<a href="#Page_132"><b>132</b></a><br />
+<br />
+Wells, <a href="#Page_133"><b>133</b></a><br />
+</p>
+
+<p class="center"><small>PRINTED IN THE U.S.A.</small></p>
+<hr class="chap" />
+
+
+
+<h2><a name="PRINCIPLES_AND_METHODS" id="PRINCIPLES_AND_METHODS"></a>PRINCIPLES AND METHODS
+OF RELIGIOUS EDUCATION</h2>
+
+<p class="center"><i>Edited by</i> <span class="smcap">W. C. Bower</span>, <span class="smcap">Edwin E. Aubrey</span>, and
+<span class="smcap">W. C. Graham</span></p>
+<hr class="r5" />
+
+<p><i>A Survey of Religious Education in the Local Church.</i> By
+William C. Bower.</p>
+
+<p><i>The Junior: Life-Situations of Children Nine to Eleven Years
+of Age.</i> (Revised edition, 1932.) By Ernest J. Chave.</p>
+
+<p><i>Out of Doors with Youth.</i> By J. W. F. Davies.</p>
+
+<p><i>The Sunday-School Building and Its Equipment.</i> By Herbert
+F. Evans.</p>
+
+<p><i>Recreation and the Church.</i> By Herbert W. Gates.</p>
+
+<p><i>Character Building through Recreation.</i> By Kenneth L.
+Heaton.</p>
+
+<p><i>Graded Social Service for the Sunday School.</i> By William N.
+Hutchins.</p>
+
+<p><i>A Summer Program for the Church School.</i> By Miles H.
+Krumbine.</p>
+
+<p><i>World-Friendship through the Church School.</i> By John Leslie
+Lobingier.</p>
+
+<p><i>Projects in World-Friendship.</i> By John Leslie Lobingier.</p>
+
+<p><i>The Dramatization of Bible Stories.</i> By Elizabeth Erwin
+Miller (Elizabeth Miller Lobingier).</p>
+
+<p><i>Dramatization in the Church School.</i> By Elizabeth Erwin
+Miller (Elizabeth Miller Lobingier).</p>
+
+<p><i>Far Peoples.</i> By Grace D. Phillips.</p>
+
+<p><i>Church School Projects.</i> By Erwin L. Shaver.</p>
+
+<p><i>The Project Principle in Religious Education.</i> By Erwin L.
+Shaver.</p>
+
+<p><i>A Project Curriculum for Young People.</i> By Erwin L. Shaver.</p>
+
+<p><i>Handwork in Religious Education.</i> By Addie Grace Wardle.</p>
+<hr class="tb" />
+
+<p class="center"><small>THE UNIVERSITY OF CHICAGO PRESS</small></p>
+
+
+
+<p class="transnote">
+<b>Transcriber's Notes</b><br /><br />
+
+Made minor punctuation and formatting changes, e.g., indentations.
+</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dramatization of Bible Stories, by 
+Elizabeth Erwin Miller Lobingier
+
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+</body>
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+The Project Gutenberg EBook of The Dramatization of Bible Stories, by
+Elizabeth Erwin Miller Lobingier
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: The Dramatization of Bible Stories
+       An experiment in the religious education of children
+
+Author: Elizabeth Erwin Miller Lobingier
+
+Release Date: March 1, 2012 [EBook #39022]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMATIZATION OF BIBLE STORIES ***
+
+
+
+
+Produced by Curtis Weyant, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+THE DRAMATIZATION OF BIBLE STORIES
+
+
+
+
+THE UNIVERSITY OF CHICAGO PRESS
+CHICAGO, ILLINOIS
+
+THE BAKER & TAYLOR COMPANY
+NEW YORK
+
+THE CAMBRIDGE UNIVERSITY PRESS
+LONDON
+
+THE MARUZEN-KABUSHIKI-KAISHA
+TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI
+
+[Illustration: A SHEPHERD]
+
+
+
+
+THE DRAMATIZATION
+OF BIBLE STORIES
+
+AN EXPERIMENT IN THE RELIGIOUS
+EDUCATION OF CHILDREN
+
+_By_
+
+ELIZABETH ERWIN MILLER
+
+(_Elizabeth Miller Lobingier_)
+
+[Illustration]
+
+THE UNIVERSITY OF CHICAGO PRESS
+CHICAGO, ILLINOIS
+
+
+
+
+COPYRIGHT 1918 BY THE UNIVERSITY OF CHICAGO
+ALL RIGHTS RESERVED. PUBLISHED APRIL 1918
+SIXTEENTH IMPRESSION OCTOBER 1934
+
+COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO PRESS
+CHICAGO, ILLINOIS, U.S.A.
+
+
+
+
+TO MY LITTLE FRIENDS, THE CHILDREN IN THE
+DRAMATIC CLUB OF THE HYDE PARK CHURCH OF DISCIPLES,
+THIS BOOK IS LOVINGLY DEDICATED
+
+
+
+
+GENERAL PREFACE
+
+
+The progress in religious education in the last few years has been
+highly encouraging. The subject has attained something of a status as a
+scientific study, and significant investigative and experimental work
+has been done. More than that, trained men and women in increasing
+numbers have been devoting themselves to the endeavor to work out in
+churches and Sunday schools the practical problems of organization and
+method.
+
+It would seem that the time has come to present to the large body of
+workers in the field of religious education some of the results of the
+studies and practice of those who have attained a measure of
+educational success. With this end in view the present series of books
+on "Principles and Methods of Religious Education" has been undertaken.
+
+It is intended that these books, while thoroughly scientific in
+character, shall be at the same time popular in presentation, so that
+they may be available to Sunday-school and church workers everywhere.
+The endeavor is definitely made to take into account the small school
+with meager equipment, as well as to hold before the larger schools the
+ideals of equipment and training.
+
+The series is planned to meet as far as possible all the problems that
+arise in the conduct of the educational work of the church. While the
+Sunday school, therefore, is considered as the basal organization for
+this purpose, the wider educational work of the pastor himself and that
+of the various other church organizations receive due consideration as
+parts of a unified system of education in morals and religion.
+
+                                              THE EDITORS
+
+
+
+
+CONTENTS
+
+
+                                                                 PAGE
+
+LIST OF ILLUSTRATIONS                                            xiii
+
+INTRODUCTION BY EDWARD SCRIBNER AMES                                1
+
+CHAPTER
+
+I. EDUCATIONAL AIMS IN DRAMATIZATION                                5
+
+II. THE METHOD OF DRAMATIZATION                                     9
+
+III. THE DRAMATIZATION OF "JOSEPH"                                 17
+
+IV. THE DRAMATIZATION OF "DAVID AND GOLIATH"                       44
+
+ V. THE DRAMATIZATION OF "MOSES IN THE BULRUSHES"                  52
+
+VI. THE DRAMATIZATION OF "RUTH"                                    59
+
+VII. THE DRAMATIZATION OF "QUEEN ESTHER"                           68
+
+VIII. THE DRAMATIZATION OF "ABRAHAM AND THE THREE GUESTS"          84
+
+IX. THE DRAMATIZATION OF "DANIEL IN THE LIONS' DEN"                93
+
+X. THE DRAMATIZATION OF NEW TESTAMENT PARABLES                     98
+
+XI. THE DRAMATIC QUALITIES IN A GOOD STORY                        109
+
+XII. BIBLE STORIES SUITABLE FOR DRAMATIZATION                     113
+
+XIII. STAGE SETTING AND PROPERTIES                                130
+
+XIV. COSTUMING                                                    144
+
+XV. THE ORGANIZATION OF A CHURCH DRAMATIC CLUB                    152
+
+INDEX                                                             161
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+A SHEPHERD                                               Frontispiece
+
+FIGURE                                                           PAGE
+
+1. PHARAOH'S COURT                                                 42
+
+2. A SCENE FROM DAVID AND GOLIATH                                  47
+
+3. ESTHER AND MORDECAI                                             73
+
+4. ESTHER DANCES BEFORE THE KING                                   75
+
+5. THE KING HOLDS OUT THE SCEPTER TO ESTHER                        79
+
+6. QUEEN ESTHER PLEADS FOR HER PEOPLE                              81
+
+7. THE THREE GUESTS BLESS ABRAHAM AND SARAH                        88
+
+8. THE WISE AND FOOLISH VIRGINS                                   101
+
+9. THE GOOD SAMARITAN                                             104
+
+10. WATER JUGS AND OTHER CLAY UTENSILS                            132
+
+11. WOMAN CARRYING WATER JUG                                      133
+
+12. ANCIENT WELLS IN PALESTINE                                    134
+
+13. ANCIENT WEAPONS                                               135
+
+14. A SHEPHERD'S SLING AND LOOM FOR WEAVING SLING                 136
+
+15. SICKLES                                                       137
+
+16. SCEPTER                                                       138
+
+17. SHIELDS                                                       139
+
+18. TRUMPETS                                                      140
+
+19. SIGNET RING                                                   141
+
+20. LAMP                                                          141
+
+21. EGYPTIAN DESIGNS                                              142
+
+22. HELMETS AND CROWNS                                            143
+
+23. A GROUP OF CHILDREN, SHOWING COSTUMES AND A TRUMPET           145
+
+24. THE COSTUME OF ABRAHAM                                        147
+
+25. TWO KINDS OF COSTUMES--THE RICH SHEPHERD AND THE SERVANT      148
+
+26. COSTUMES SHOWING SANDALS MADE BY THE CHILDREN                 149
+
+27. COSTUMES                                                      150
+
+
+
+
+INTRODUCTION
+
+BY EDWARD SCRIBNER AMES
+
+
+This book is its own best commendation, for it is a most convincing
+record of an important experiment in education. It is the more
+interesting because it is a real contribution to educational method
+from the field of religious education, which too often only
+appropriates and imitates what has been achieved elsewhere.
+
+This experiment is founded upon the powerful dramatic impulse of
+children and upon the educative value of the natural expression of that
+impulse under the mutual self-criticism of the participating group. The
+function of the leader has been that of an unobtrusive member of the
+group contributing such suggestions from a wider experience and deeper
+insight as would naturally elicit and guide that criticism. That this
+fine art of teaching has been realized with unusual skill in this
+experiment will be apparent to the discerning readers of this record,
+as it has been by those who have watched the progress of the work
+itself.
+
+Too much emphasis cannot be given to the fact that the primary aim of
+this use of dramatization is the education of the children and not the
+entertainment of spectators, although, when such dramatization is
+rightly estimated, nothing could be more genuinely entertaining. Those
+who are expecting to find here ready-made plays for children, with
+directions for staging them, will be properly disappointed, while those
+who are seeking illustrations of vital methods of education through the
+cultivation and use of the dramatic impulse will be amply rewarded.
+
+The latter will appreciate the frank portrayal of the early and cruder
+efforts of the children and their own critical reactions due to further
+reflection and experimentation. These will understand something of the
+ability and patience that Miss Miller has employed in allowing the
+native impulse to develop naturally and to mature through the reactions
+of the children themselves. They will realize that the little people
+actually formulated the scenes and the lines of the dramas even if it
+required many weeks in some cases to do so; that it is better for the
+actors to make their own costumes and stage properties, however simple
+they may be; that it is more educative for each child to be familiar
+with all of the parts, and thus with the drama as a whole, than to be
+coached ever so cleverly to impersonate a single character; and that
+facility and power in dramatization are thus attained which are
+permanent sources of pleasure and understanding.
+
+It need scarcely be added that the biblical stories are exceptionally
+well suited to such use and that when so employed they yield their
+profound religious quality directly in deep and lasting impressions.
+The children who have been so fortunate as to belong to this dramatic
+club not only "know" these stories, but they have lived them in an
+intimate and durable experience.
+
+
+
+
+CHAPTER I
+
+EDUCATIONAL AIMS IN DRAMATIZATION
+
+
+Dramatization is not commonly recognized as a means of vitalizing the
+religious education of children. The public school has found it to be
+one of the most effective methods for enriching the pupil's ideas of
+given units of subject-matter and for leading to the establishment of
+permanent interests and of habitual modes of action.
+
+The use of dramatization in the school in order to accomplish these
+ends finds its justification in certain fundamental principles of
+teaching. Subject-matter is so presented that the important ideas stand
+out clearly. These ideas are mastered by utilizing them in some form of
+activity which leads to self-expression on the part of the children.
+Judgments are formed and conclusions are reached when children enter
+actively into a situation which presents a problem; ideas become their
+own through experience. Through dramatization children give expression
+to these ideas in the light of their own interpretation. The
+formulation of standards, the placing of values, and the realization of
+truths and ideals follow as direct results of actively entering into
+the life-experience of others.
+
+From a psychological point of view ideas and ideals, whether religious
+or secular, are developed according to the same general laws.
+Furthermore, the principles of teaching which are effective in the
+daily classroom must be equally significant in religious training. It
+follows, therefore, that dramatization and other forms of
+self-expression are as valuable in attaining the aims of the Sunday
+school as they are in teaching the curriculum of the day school.
+Through dramatizing a Bible story children come into a comprehension of
+the life-experiences of a highly religious people; they are forming
+their own standards and ideals through meeting and solving the simple
+life-problems of the Hebrews. Each child has as great an opportunity
+for self-expression through dramatizing a Bible story as that afforded
+through dramatizing any other story. He not only develops his
+individuality, but through this kind of work he must necessarily come
+into the realization of his place within the group, as is the case in
+all well-directed dramatization.
+
+The period is rapidly passing in which dramatics is looked upon by
+church members as being sinful and not in any way to be connected with
+the church. This view is a relic of a conception of religion in which
+all forms of freedom and pleasure were considered evil. People
+interested in religious education are now realizing that dramatization
+is not an activity foreign to children, but that it is an outgrowth of
+the play interest which is natural to all children. They are aware of
+the fact that dramatization becomes evident in the earliest stages of
+childhood through the desire of children to imitate in play the
+surrounding social activities. Many churches have already made use of
+these natural tendencies by incorporating organized play as one of
+their activities. Since dramatization is but a specialized form of
+organized play, and inasmuch as it can be used very effectively in
+vitalizing the religious training which all children should receive, it
+deserves a wider recognition and adoption.
+
+This book contains a description of a children's dramatic club which
+has been conducted as a part of the work of the Sunday school of the
+Hyde Park Church of Disciples, Chicago, Illinois, for the purpose of
+accomplishing the ends stated above. Before this dramatic club was
+organized a small amount of dramatization was attempted in certain of
+the classes during the Sunday-school period. The enthusiastic response
+from the children to this new phase of the work revealed the need for
+more of this kind of activity, and as a consequence it was decided to
+devote one hour each Sunday afternoon to the dramatization of Bible
+stories. The membership of the club included children ranging from six
+to fourteen years of age. The average attendance has been from twenty
+to thirty children each Sunday throughout these four years of the
+club's existence.
+
+This organization was attempted more or less as an experiment with the
+hope that definite results could be accomplished. The practical
+problems which have arisen, the details of method of procedure, and the
+results which have been secured will be discussed in the following
+chapters.
+
+Several of the stories are given in the dramatic form which the
+children have worked out. This is done for the sake of showing what
+kind of a result may be secured. It is hoped that these plays, as they
+are written here, will not be given to children to learn and act; such
+a procedure would be entirely contrary to the spirit and purpose in
+which this experiment is set forth.
+
+
+
+
+CHAPTER II
+
+THE METHOD OF DRAMATIZATION
+
+
+Two very different aims are revealed in the present-day employment of
+dramatization. Children are often required to give a dramatic
+production at some entertainment or social event. For this purpose a
+story is selected which has already been put into dramatic form. The
+parts are assigned by the leader, and the children are asked to
+memorize these parts in exact form and order. The children are then
+trained to give their parts according to directions. Throughout the
+preparation of the play the finished production is the goal of
+endeavor. In such instances as this the children are a means to an end,
+and their own training and development are usually sacrificed in the
+leader's attempt to secure a highly finished product.
+
+In contrast to the case just mentioned, dramatization is looked upon as
+an important educational factor in the development of children. From
+this point of view dramatization is utilized in developing on the part
+of the child intense and permanent interests in the words and deeds of
+noble characters, in developing power of natural expression in them as
+individuals and as members of a group, and in raising standards of
+action to higher levels by giving forceful expression to worthy ideals.
+These aims are realized through the use of informal methods which give
+the children abundant opportunity for initiative and choice. The
+children themselves prepare their dramatization under the guidance of a
+leader who has a vision of the results which may be secured and who is
+skilful in directing the activities toward these ends.
+
+The little dramatic club herein described adopted at the outset the
+point of view outlined in the preceding paragraph. Its organization was
+based on the belief that the development of boys and girls is a much
+more vital consideration than the development of a dramatic production.
+Throughout its history the chief purpose of the club has been to
+promote the growth of children through the free, spontaneous
+dramatization of Bible stories. In order to accomplish this aim, an
+informal method of working out dramatizations has been used. The public
+presentation of a play is only incidental to the children; there is no
+need for them to act out a story that has been dramatized by someone
+else. Their aim is realized in the joy of actually living the story
+over each time they play it, though this may result in the highest form
+of entertainment. That children should "speak lines" given them to
+memorize for the sake of entertainment is deadly--to the child as well
+as to the audience.
+
+There is some difference of opinion as to the value of the classic
+language of the Bible for children, and many advocate the use of modern
+or simplified versions. If, however, the children have made their own
+efforts to dramatize the story, using first of all their own words, it
+is easy to help them to adopt much of the beautiful classic language in
+putting the work into its final form. The biblical wording helps to
+give the play its proper dignity and atmosphere, at the same time
+acquainting the children with the exact language of a piece of good
+literature.
+
+The method of procedure which is followed in leading children to work
+out their own dramatizations varies slightly according to circumstances
+but in the main is as follows:
+
+A story is chosen by the leader which includes the elements essential
+for a good dramatization, and it is told to the children in such a way
+that the action or events are emphasized. Direct discourse is used in
+the telling, and an effort is made to develop simple and vivid mental
+pictures. The children divide the story into its most important
+pictures or scenes. They then suggest in detail what should take place
+in the first scene, and some of them are asked to act it out as they
+think it should be done. This first presentation is sometimes stiff
+and more or less self-conscious. The leader raises such questions as,
+"Which parts did these children do best?" "Why?" "Where can they
+improve it?" "What would you do to make the part better?" "What do you
+think should have been said here?" This leads to constructive criticism
+of the scene by the children themselves rather than by the leader in
+charge. Each child is eager to offer suggestions at this point and is
+anxious for an opportunity to give his own interpretation of the part
+by acting it out. He formulates his words as he acts. He forgets
+himself in the genuine interest which arises as he relives the
+experience of someone else. Each scene is developed in a similar
+manner.
+
+The leader encourages freedom in individual interpretation, yet she is
+ever keeping before the children the fact that they are trying to give
+a true portrayal of the characters or conditions. It is often valuable
+to have a discussion of individual characters for the purpose of
+securing clear ideas concerning them. After all have tried various
+parts and have offered many suggestions, they may be led to choose that
+interpretation which seems most adequate, or they may all work out the
+interpretation of a part which will involve the ideas of many. After
+the story has been played through a few times, each child should be
+able to assume any character. It is an essential part of this method
+to see that every child has a different part each time.
+
+Very often, when the play develops to this stage, some one child, or
+several, will suddenly become aware of repetitions in the scenes and
+will suggest that some scenes are unnecessary. It is then the time to
+refer to the number of scenes in a good drama, and to lead the children
+to realize that in any good play much is left to the imagination of the
+audience, and that only the essential scenes need be shown. By means of
+discussions the play is worked over again, and it is finally reduced to
+the three or four scenes that seem absolutely necessary.
+
+In many instances the dramatization needs no further development. None
+of the words have been accepted as definite, for, although the thought
+given is the same each time, exactly the same words are never said
+twice. The story is interpreted slightly differently with each
+performance. This interpretation, without obtaining a highly finished
+result, is best for short stories or incidents. Fables and parables may
+be used well in this way. The action follows continuously with the
+development of the thought.
+
+In the case of a story which has a more detailed plot and which
+involves more complicated situations the development may go further:
+the wording is carefully worked out by the children and the language of
+the Bible is employed. The words which are finally used by the
+children may be composite results developed by the group as a whole, or
+after they have gone as far as they can with them the leader, or a
+committee composed of several children with the leader, may suggest a
+final form which is good from a literary standpoint.
+
+Children either volunteer or are chosen by the others to take finally
+certain parts. There is a marked socializing influence evident in the
+fact that a child is chosen by the other children for the good of the
+group and not for self-aggrandizement or partiality toward a friend. It
+is always the case after a few rehearsals that each child knows every
+part and can easily adapt himself to the part of any character. There
+is no trouble about a substitute when one or two children fail to
+arrive. Each child has lived the story until it has become a very vital
+part of him. The finished product belongs to the children; they have
+developed it; it is not the production of someone else which they have
+learned by heart.
+
+At the final presentation of the play the children invite parents and
+friends. This is not thought of as a climax toward which they have been
+working; it is hardly more important than any of the rehearsals; it is
+simply an opportunity for others to enjoy the story with them. The
+encouragement of this attitude toward the public presentation of a
+play is important in that it does away with the self-conscious feeling
+of a child that he is acting before people, or that people are
+interested in him rather than in the character that he portrays. Much
+harm can be done by allowing a child to feel that he is "showing off"
+on a stage.
+
+This mode of procedure in developing a dramatization illustrates the
+general method which is employed in order to secure the results herein
+discussed. It should be helpful as a method which may be varied or
+built upon according to the circumstances. Detailed descriptions of
+exact modes of procedure in presenting different kinds of Bible stories
+to the dramatic club will follow. Costumes and stage settings have
+always been of the simplest nature and will be discussed at length in a
+separate chapter.
+
+In order that this method may be of greatest practical value to those
+who are unfamiliar with it, a summary may give the steps in logical
+sequence. This outline is not to be taken as unchangeable, but merely
+as a working basis for the beginner.
+
+     1. Select a story with care; then adapt it for telling.
+
+     2. Tell the story, emphasizing the essential parts.
+
+     3. Let the children divide the story into pictures or scenes.
+
+     4. Have a discussion of what should take place in each
+     scene.
+
+     5. Let volunteers from among the children act out one scene
+     as they think it should be done, using their own words.
+
+     6. Develop criticism by the other children with suggestions
+     for improvement.
+
+     7. Have a second acting of the scene for improvement.
+
+     8. Let each of the other scenes be worked out in the same
+     manner.
+
+     9. See that every child has the chance to try out many parts.
+
+     10. Play the story through many times. Change it often
+     according to the criticism, until the children recognize the
+     result as a product of their best effort.
+
+     11. With the help of the children change the words into
+     biblical form.
+
+     12. Let the group assign definite parts to be learned for the
+     final performance.
+
+
+
+
+CHAPTER III
+
+THE DRAMATIZATION OF _JOSEPH_
+
+
+As will be noted in the following chapter, it is well in beginning
+dramatic work with children to use for the first efforts very simple
+stories. _Joseph_ is too long and complicated for an early experiment.
+We may begin our exposition of method with this story, however, as it
+illustrates especially well the details of the developing process.
+
+At the first meeting the story was told in terms that followed closely
+the Bible version. The children were asked to select the big events, or
+pictures, in Joseph's life. They readily spoke of his life in Canaan as
+a boy; his being put into the pit and sold to the merchants; his life
+in Egypt with Potiphar; the prison experience and the interpretation of
+Pharaoh's dream; the change of fortune in becoming ruler of the land;
+the famine and the visits of his brothers; and, finally, his kindness
+to his father and brothers in giving them a home in Egypt.
+
+The story was told to the children very much as follows:
+
+     Jacob was an old man, too old to care for his large flocks.
+     He sat in the door of his tent day after day, and sent his
+     twelve sons off with the sheep and goats to find grassy
+     fields.
+
+     Now of all the twelve sons Jacob loved Joseph, a lad of
+     seventeen years, the best. Joseph was next to the youngest
+     and often stayed with his father while the older brothers
+     went away. Jacob gave Joseph a coat of many colors and
+     showed him often that he was the favorite. This made the
+     older brothers very jealous of Joseph, and they began to
+     dislike him.
+
+     Once Joseph dreamed a dream, which he told to his brothers,
+     and it made them hate him all the more. He said to them,
+     "Hear, I pray you, this dream which I have dreamed: Behold,
+     we were binding sheaves in the field, and, lo, my sheaf
+     arose, and stood upright; and, behold, your sheaves stood
+     round about and bowed down to my sheaf." Then his brothers
+     said to him, "Shalt thou indeed reign over us? or shalt thou
+     have power over us?"
+
+     Then Joseph dreamed yet another dream, and he told it again
+     to his father and brothers, and said, "Behold, the sun and
+     moon and the eleven stars bowed down to me." And his father
+     said unto him, "What is this dream that thou hast dreamed?
+     Shall I and thy mother and thy brethren indeed come to bow
+     down ourselves to thee?" And the brothers remembered what
+     their father had said, and they wished that harm might come
+     to Joseph.
+
+     It happened soon after this that Jacob sent his ten older
+     sons with the flocks to Shechem, a place some distance away
+     where there was good grass. Now the brothers were gone for
+     so long a time that their father became anxious and decided
+     to send Joseph after them. He said to Joseph, "Do not thy
+     brethren feed the flock in Shechem? Go, I pray thee, see
+     whether it be well with thy brethren and well with the
+     flocks; and bring me word again." So Joseph took money and
+     food in his bag, and his staff in his hand, and went out to
+     find his brothers.
+
+     At Shechem there were no brothers to be seen. Joseph was
+     wondering what he should do next, when he saw a man coming
+     toward him over the field. "What seekest thou?" said the
+     man. And Joseph answered, "I seek my brethren; tell me, I
+     pray thee, where they feed their flocks." "They have
+     departed from here," said the man, "and have gone to
+     Dothan." Then Joseph went after his brothers and found them
+     at Dothan.
+
+     Now when the brothers saw Joseph afar off, they knew that it
+     was he from his coat of many colors, and they plotted
+     against him. One of them said, "Behold, this dreamer cometh.
+     Come, now, let us slay him, and cast him into some pit, and
+     we will say unto our father that some evil beast hath
+     devoured him; and we shall see what will become of his
+     dreams." Reuben, one of the brothers, felt more kindly
+     toward Joseph than did the others and said to them, "Let us
+     not kill him, but let us cast him into this pit that is
+     near." Reuben thought that he would come back later after
+     the brothers had gone and help Joseph out of the pit and
+     take him to his father.
+
+     When Joseph came to his brothers, they quickly took the coat
+     of many colors from him and bound him and cast him into an
+     old well which was dry. Then they sat down to eat bread.
+     They had hardly become settled when one of them cried out,
+     "Behold, I see a caravan! It is a company of Ishmaelites,
+     with their camels bearing spicery and balm and myrrh, going
+     down to Egypt." Then Judah said, "Why do we slay our brother
+     and conceal his blood? Come, let us sell him to these
+     Ishmaelites, and let not our hand be upon him, for he is our
+     brother and our flesh." The brothers were content to do as
+     Judah had said. They drew Joseph up out of the well, and
+     when the Ishmaelites came near they sold him to them for
+     twenty pieces of silver. And the brothers went away to kill
+     a goat so that they might dip Joseph's coat into the blood,
+     that their father might think that he had been killed by
+     some wild animal.
+
+     Reuben did not know that Joseph had been sold, and returned
+     unto the pit after the brothers had left. When he saw that
+     Joseph was not there, he rent his clothes, and ran after the
+     others, crying, "The child is not, and I, whither shall I
+     go?"
+
+     And when the brothers brought Joseph's coat to their father,
+     they said, "This we have found, thou knowest if it be thy
+     son's coat." And Jacob knew it, and said, "It is my son's
+     coat; an evil beast hath devoured him." Then Jacob put on
+     sackcloth and ashes and mourned for Joseph many days.
+
+     Now the Ishmaelites brought Joseph down into Egypt and sold
+     him to Potiphar, a captain of King Pharaoh's guard. And
+     Joseph was faithful and served the Lord, and Potiphar saw
+     that he could be trusted with great responsibility and made
+     him ruler over his household. But Potiphar's wife grew
+     jealous of Joseph and disliked him, and told Potiphar things
+     which were untrue about Joseph. After awhile Potiphar began
+     to believe his wife and he decided that Joseph was not a
+     good man, so he had Joseph cast into prison.
+
+     And it came to pass that the butler and the baker of the
+     king of Egypt were put into prison at the same time that
+     Joseph was there, and they were placed in his ward. One
+     morning Joseph found them both very sad and he said unto
+     them, "Wherefore look ye so sadly today?" And they said, "We
+     have dreamed a dream and there is no one to interpret it."
+     Then Joseph said, "Do not interpretations belong to God?
+     Tell me your dreams, I pray you." And they told him their
+     dreams, and he gave them the meaning thereof. To the chief
+     butler he said, "Yet within three days shall Pharaoh lift up
+     thine head and restore thee to thy place." But to the chief
+     baker he said, "Yet within three days shall Pharaoh lift up
+     thy head from off thee, and shall hang thee on a tree." And
+     it came to pass that on the third day Pharaoh gave a feast
+     to his servants, and he restored the chief butler to his
+     place, but he hanged the chief baker, as Joseph had
+     interpreted.
+
+     At the end of two years Pharaoh dreamed a dream. He was
+     greatly troubled, and sent for all the wise men of the land
+     to tell him the meaning of his dream, but there was none
+     that could interpret it unto Pharaoh. Then the chief butler
+     spoke to the king and said, "I do remember this day, that
+     when Pharaoh was wroth with his servants and put both me and
+     the chief baker into the prison, that we each dreamed dreams
+     in one night; and there was a young man there, a Hebrew, who
+     interpreted to us our dreams, and they came to pass as he
+     interpreted, for the chief baker was hanged and I was
+     restored to my office."
+
+     Then Pharaoh sent for Joseph, and they brought him in
+     hastily out of the dungeon. And Pharaoh said, "I have
+     dreamed a dream, and there is none that can interpret it,
+     and I have heard say of thee that thou canst understand a
+     dream to interpret it." And Joseph answered Pharaoh, "It is
+     not in me; God shall give Pharaoh an answer of peace." Then
+     Pharaoh said, "In my dream, behold, I stood upon the bank of
+     a river; and there came up out of the river seven fat cows,
+     and they fed in a meadow. And, behold, seven other cows came
+     up after them, lean and ill favored; and the lean and
+     ill-favored cows did eat up the fat and well-favored cows.
+     Then I dreamed again, and, behold, seven full ears of corn
+     came upon one stalk, and then seven ears, withered and thin,
+     came up after them, and devoured the good ears."
+
+     And Joseph said to Pharaoh, "God hath shewed Pharaoh what he
+     is about to do. This is the thing which he is about to do:
+     Behold, there will come seven years of plenty throughout the
+     land of Egypt; and there shall rise up after them seven
+     years of famine, and the famine shall consume the land. Now,
+     therefore, let Pharaoh look out a man, discreet and wise,
+     and set him over the land of Egypt, and let him gather up
+     all the food during the years of plenty and lay it up in the
+     cities, so that the land shall not perish in the famine."
+     And the thing was good in the eyes of Pharaoh, and he said,
+     "Can we find such a one as this is, a man in whom the spirit
+     of God is? Forasmuch as God has shewed thee all this, there
+     is none so discreet and wise as thou art; thou shalt be over
+     my house, and according to thy word shall all my people be
+     ruled." Pharaoh took off his ring from his hand and clothed
+     him in fine linen and put a golden chain around his neck.
+
+     Joseph went out from the presence of Pharaoh and went over
+     all the land of Egypt. He gathered up the food for seven
+     years, and laid up the food in the cities. And the seven
+     years of plenteousness that were in all the land of Egypt
+     were ended, and the seven years of famine began, and there
+     was famine in all the lands. Then Joseph opened the
+     storehouses and sold to the Egyptians, and other countries
+     sent to buy grain from Joseph because they had stored none.
+
+     Now in Canaan Jacob and his eleven sons were suffering from
+     the famine. They heard that there was food in Egypt, so
+     Jacob sent down all the brothers, except Benjamin, to buy
+     food. When they came before Joseph and bowed themselves to
+     the earth, they knew him not. But Joseph saw his brothers,
+     and he made himself strange unto them, and treated them
+     roughly, that they should not know him. And when they bowed
+     before him Joseph remembered the dreams that he had dreamed
+     of them. "Ye are spies," he said, "ye are come to see the
+     bareness of the land." They answered him, "We are true men,
+     we are no spies. Thy servants are twelve brothers, the sons
+     of one man in Canaan; and, behold, the youngest is this day
+     with our father, and one is not." "Hereby ye shall be
+     proved," said Joseph, "if ye be true men; let one of your
+     brethren be bound in the prison while ye go and carry grain
+     to your father's house, but bring back your youngest brother
+     to me."
+
+     The brothers took the food back to Canaan, to their father's
+     tent, and told him what the ruler in Egypt had said. Jacob
+     mourned and was loath to let Benjamin, his youngest son, go
+     back to Egypt with them. "My son shall not go down with
+     you," he said; "for his brother is dead and he is left
+     alone: if mischief befall him, then shall ye bring down my
+     gray hairs with sorrow to the grave." But the famine was
+     great in the land, and they had eaten up all the grain which
+     they brought from Egypt. The brothers would not go down
+     again until Jacob had consented to let them take Benjamin
+     with them. And Judah said unto his father, "Send the lad
+     with me and we will rise and go, that we may live and not
+     die. I will be surety for him; if I bring him not back unto
+     thee, then let me bear the blame forever." Then Jacob
+     answered, "If it must be so, do this: take the best of the
+     fruits in the land, and carry down the man a present, a
+     little balm, and a little honey, spices, and myrrh, nuts,
+     and almonds and take double money, and take also your
+     brother, and arise and go unto the man; and God Almighty
+     give you mercy before the man, that he may send you away
+     with your other brother and Benjamin."
+
+     And the men took the present and double the money and
+     Benjamin, and went down into Egypt, and stood before Joseph.
+     When Joseph saw Benjamin, he ordered that the men be brought
+     to his home, and that a feast be made ready, and that the
+     other brother be brought out of the prison. But the men were
+     afraid because they were brought into Joseph's home, and
+     they bowed themselves to the earth before him and presented
+     their gifts. Then Joseph was greatly moved and said unto
+     them, "Is your father well, the old man of whom ye spake? Is
+     he yet alive?" And they answered, "Thy servant, our father,
+     is in good health; he is yet alive." And they bowed down
+     their heads. Then Joseph lifted up his eyes and saw
+     Benjamin, his mother's youngest son, and said, "Is this your
+     younger brother of whom ye spake unto me?" And he said to
+     Benjamin, "God be gracious unto thee, my son." Joseph was so
+     overcome by his love for Benjamin that he hastened out of
+     the room where he could weep alone. And he washed his face
+     and composed himself and commanded that the food be served.
+     They all ate and were merry, and Joseph helped Benjamin to
+     five times as much as he did the others.
+
+     Then Joseph commanded the steward to fill the men's sacks
+     with food, and to put each man's money back into his sack,
+     and to put his silver cup into the sack of the youngest. As
+     soon as the morning was light the men were sent away. And
+     when they were gone out of the city and were not yet far
+     off, Joseph sent a servant after them to search their sacks
+     for his silver drinking-cup, and he sent word that the one
+     who had it should be brought back to him.
+
+     Now the brothers were greatly distressed and protested that
+     they knew nothing of the cup. What was their astonishment at
+     finding their money in their sacks and the cup in Benjamin's
+     sack! Then they rent their clothes and returned to the city.
+     And Judah came to Joseph and fell on the ground and said,
+     "What shall we say unto my lord? or how shall we clear
+     ourselves? God hath found out our sin, behold we are my
+     lord's servants." Then Joseph said, "Get up and go in peace
+     unto thy father; I shall keep for my servant only the man in
+     whose sack the cup was found." And Judah came near to Joseph
+     and besought him that he allow Benjamin to return to their
+     father; he told him that he had promised his father to bring
+     the lad back safely, and that it would kill the old man if
+     they returned without Benjamin. "Now therefore, I pray
+     thee, let thy servant abide as a bondman, instead of the
+     lad." Then Joseph could not refrain himself, and he wept
+     before his brothers and made himself known to them. "I am
+     Joseph, do ye not know me? Is my father yet alive?" And the
+     brothers were troubled, and they did not know how to answer
+     him. "Come near, I pray you." And they came near, and he
+     said again, "I am Joseph, your brother, whom ye sold into
+     Egypt. Now be not grieved nor angry with yourselves that ye
+     sold me hither, for God did send me before you to preserve
+     your lives. Haste ye, go up to my father, and tell him that
+     Joseph, his son, still liveth, and bring him down unto me."
+     And Joseph fell upon Benjamin's neck and kissed him, and he
+     kissed all his brothers, and they were astonished, for they
+     knew now that this was Joseph whom they had sold.
+
+     Now the word was spread over Pharaoh's house that Joseph's
+     brethren had come, and it pleased Pharaoh greatly. He came
+     in where they were and said unto Joseph, "This do ye: Say to
+     your brethren that they are commanded to go back into
+     Canaan, and to pack all their household goods, and to bring
+     their father and their families, and all their flocks, and
+     to return into the land of Egypt, for all the good of the
+     land shall be theirs."
+
+     Then the brothers were joyful, and gave thanks unto Pharaoh
+     and to their brother, Joseph, and they left the city to go
+     back to their father. And when they came unto Jacob and told
+     him all, and showed him the wagons which Joseph had sent to
+     bring him down into Egypt, his soul rejoiced, and he said,
+     "It is enough; Joseph, my son, is still alive: I will go and
+     see him before I die."
+
+The children decided that it would take a great many scenes in order to
+act out the story adequately. At first they mentioned seven or eight.
+One child was asked to describe the first scene as he thought it ought
+to be, and several others added to the description. Volunteers were
+then called upon to act it out then and there.
+
+The first scene was placed in front of Jacob's tent. Jacob is anxiously
+awaiting the return of his ten sons with the flocks. He becomes worried
+because they do not come, so he sends Joseph to seek his brothers.
+Joseph accepts the command and leaves the tent.
+
+This scene was acted very naturally and spontaneously by several groups
+of children. Each time it was changed, for no two groups of children
+interpreted the action or words alike.
+
+The children who were not acting were made to feel their responsibility
+also, for they were asked to make note of the best parts. A general
+discussion was held at the end of each presentation, in which the good
+points were emphasized and suggestions were given as to improvement.
+The criticism in all of this work comes for the most part from the
+children; the leader in charge directs it, but keeps from imposing her
+opinions.
+
+As the meetings of this dramatic club last but one hour, nothing more
+could be done than work out one scene at this first time. The children
+were asked to think the story over and to come the next Sunday prepared
+to suggest the second and third scenes in detail.
+
+At the next meeting the second and third scenes were worked out in the
+same manner as the first.
+
+The second scene places Joseph at Shechem. Here he meets the man who
+tells him that his brothers have gone to Dothan.
+
+In the third scene the brothers are seated on the ground eating and
+resting, with their shepherd staffs beside them; they begin to talk
+about Joseph and to tell of his dream and their hatred of him. Just at
+this point Joseph runs in and gives his father's message. He also tells
+of his experience in Shechem in not finding them there. Then the
+brothers take him and bind him and throw him into the pit. The caravan
+comes along and Joseph is sold and taken away. After the brothers
+depart, Reuben, not knowing that Joseph has been sold, comes back to
+the pit, hoping to help him out. When he finds the boy gone, he weeps
+and goes sorrowfully away. (A doorway which leads off from the stage at
+the back was used for the pit. There were no camels in the caravan; the
+men walked by.)
+
+During the next hour scenes which describe Joseph's life in Egypt were
+roughly blocked out. The children made up their words as they acted the
+parts. The language at this stage was very modern, but for the time
+being the emphasis was placed upon the thought expressed and upon the
+action.
+
+Several of the older girls volunteered to write out the first few
+scenes in order to bring the language into better form. At the fourth
+meeting these were brought in and discussed by the children. The
+following is a version of the first scene just as it was written by a
+girl of twelve years. It is given here that the contrast may be seen
+between this as a piece of work which may be made better and the final
+play at the end of the chapter.
+
+
+     SCENE I
+
+     _Jacob:_ It is time my sons are returning with their flocks.
+     See if thou canst see them coming.
+
+          [_Exit servant._]
+
+     _First Lady:_ Yes, they have been gone a long time. We have
+     only Joseph and Benjamin with us.
+
+          [_Enter servant._]
+
+     _Jacob:_ What didst thou see?
+
+     _Servant:_ Master, I saw nothing of your sons.
+
+     _Jacob:_ I shall send Joseph after them. Bring Joseph
+     hither. [_Turns to another servant._] Bring a bag of food
+     for him to take with him on his journey.
+
+          [_Servants leave._ JACOB _looks away, hoping to see his
+          sons._]
+
+     _Jacob:_ I do not see them. What can be the matter?
+
+          [_Enter_ JOSEPH _with servant._]
+
+     _Second Lady:_ Joseph will be sure to find them.
+
+     _Jacob:_ Joseph, my son, I am sending thee after thy
+     brethren. Take this food to Shechem and bring thy brethren
+     back to me.
+
+     _Joseph:_ I will do as thou bidst.
+
+          [JACOB _stands and puts his hand on Joseph._]
+
+     _Jacob:_ May the Lord go with thee.
+
+     END
+
+The third scene was written by a girl of eleven years and was as
+follows:
+
+
+SCENE III
+
+          [_All brothers look down the road._]
+
+     _All Brothers:_ What shall we do with him?
+
+     _Seventh Brother:_ I know; let's kill him!
+
+     _All except Reuben:_ Yea! Yea!
+
+     _Reuben:_ Nay, do not kill him; let's put him in a deep pit.
+
+     _Tenth Brother:_ Well, all right.
+
+          [JOSEPH _appears; exit_ REUBEN.]
+
+     _Joseph:_ Ah, I have found ye at last, my brethren.
+
+          [_All grab_ JOSEPH.]
+
+     _Joseph:_ What have I done to deserve this?
+
+     _Fourth Brother:_ Get some rope!
+
+          [_Exit sixth brother and brings some rope back with him.
+          Eighth and ninth brothers bind_ JOSEPH _with ropes. All
+          take hold of him and push him into the pit._]
+
+     _Tenth Brother:_ But what shall we tell our father?
+
+     _Eighth Brother:_ Let's tell him that Joseph was killed by a
+     wild beast.
+
+     _Ninth Brother:_ We will take his coat of many colors, which
+     our father gave him, and dip it in the blood of a goat.
+
+     _All:_ Yea! Yea!
+
+          [_Seventh brother sees some merchants._]
+
+     _Seventh Brother:_ I see merchants in the distance. Let's
+     sell Joseph to them.
+
+          [_One brother goes after the merchants, while the
+          others bring_ JOSEPH _from the pit. Merchants enter._]
+
+     _Tenth Brother:_ What will ye give us for this lad?
+
+     _Merchant:_ I guess we can give ye about twenty pieces of
+     silver.
+
+          [_Merchants take_ JOSEPH _with them. Brothers go on
+          their way. Enter_ REUBEN _after his brothers have gone.
+          He runs to the pit._]
+
+     _Reuben:_ Joseph! Joseph! Where art thou? The lad is gone.
+     Whither shall I go?
+
+          [REUBEN _goes away, sobbing and wringing his hands._]
+
+     END
+
+       *       *       *       *       *
+
+At the meeting when these were read the children began to criticize the
+length of the play. One little boy made the remark, "We keep telling
+the same things over; why can't we leave out that second scene? It is
+so short, and Joseph could tell his brothers in the third scene that he
+didn't find them at Shechem." This suggestion was readily accepted, and
+as a consequence the second scene was omitted. Then the entire group
+consciously worked on the play to see what parts were unnecessary.
+Several children had recently been to the theater and had seen some
+good plays. They told the others that there were few scenes and that
+there was much left to the imagination of the audience. The result was
+that this long-drawn-out play was cut down to three essential scenes.
+The first scene was placed at Dothan, and was much the same as the
+original scene iii. The second scene was placed at Pharaoh's palace
+where Joseph was brought to interpret the king's dream. The third
+represented the brothers coming to Joseph with Benjamin, the youngest,
+ending with Joseph's forgiveness of them and his sending for Jacob,
+their father.
+
+After these three scenes were decided upon, the older children were
+asked to begin writing them out in final form.
+
+At the fifth meeting of the club all the children sat in a circle with
+Bibles and pencils and paper and, together with the leader, they
+formulated the speeches, making them conform as nearly as possible to
+those in the Bible. The work that had been done outside was discussed
+and built upon. This part of the procedure did not take as long a time
+as it may seem, because the children knew so well what thoughts they
+wanted to express--they had lived the story so many times. They
+practiced after this, using the words they had decided upon.
+
+For the next meeting or two the children acted out the play, trying
+each time to improve it by better interpretations of the parts. The
+fact that they had learned definite words did not in the least check
+the freedom of the action or cause the play to lose the spontaneity
+which first characterized it, for the reason that the story had quite
+become a part of the children before they decided upon the set
+speeches.
+
+The question arose as to which children should take certain parts. In
+some instances several wanted to learn the part of one particular
+character. They were each given the opportunity of learning it, and
+then at the next meeting each acted it as best he or she could before
+the group. The other children were judges and decided upon the one who
+seemed to represent the character best. Whenever this method of
+choosing characters has been employed there has never been any hard
+feeling on the part of a child because he was not chosen. The justice
+of the choice is quickly recognized when it comes in this way rather
+than from the leader.
+
+There were many little children in this club who were scarcely old
+enough to learn a part or to say very much. They were easily worked
+into the caravan, or they took such parts as servants in Pharaoh's
+court. Each child was made to feel that one part was just as important
+as another and that those who had nothing to say were very essential
+elements because of their acting.
+
+Eight or nine meetings were needed before the play was entirely
+finished. The children had very simple slips for costumes which they
+had been wearing at each rehearsal. Bright-colored sashes and
+headdresses they brought from home. Pharaoh was more gaily dressed than
+the others. The child who took the part made for himself many ornaments
+from gilt paper.
+
+Very little attention was given to stage setting, what was used was
+extremely simple. A few of the older girls made designs from the
+Egyptian lotus to stand around the walls of Pharaoh's palace or to be
+carried by the servants. Colored illustrations of Bible stories by
+Tissot were suggestive helps in these details. The ten brothers made
+themselves shepherd staffs from limbs of trees. This small amount of
+stage setting and costuming was used at many rehearsals and was all
+that was necessary to produce the right atmosphere.
+
+As soon as the children felt that the play represented their best
+effort they invited their parents and friends and presented it before
+them one Sunday afternoon at the time for the regular meeting.
+
+It happened that a few days before the final presentation four of the
+principal characters were taken ill with measles and chicken-pox. Four
+others, who had not given special attention to these parts, but who had
+minor parts, assumed the important roles and went straight through the
+play with no trouble whatever. The audience never knew the difference
+and the children thought that it was entirely natural that they should
+be able to do this. The play all the way through was characterized by a
+spirit of dignity and seriousness.
+
+As direct results of this work in dramatization it was noted that all
+the children had acquired a certain freedom of expression, a
+self-confidence, without conceit or too much sureness, and the ability
+to work harmoniously with the group. One or two timid children learned
+to forget themselves, and one overconfident child was helped by seeing
+that others could learn to do the part even a little better than
+herself.
+
+The children who took part in this little play of _Joseph_ will never
+forget it. Several years after the play was given they were frequently
+referring to it with great happiness. Joseph is one of their favorite
+characters because they have lived through his experiences with him.
+
+The following is the play as it was given in its final form. It is not
+to be taken as a play which may be given to children to be learned as
+it is; it is given here that there may be some idea of the standard
+which may be reached.
+
+
+
+
+     JOSEPH
+
+
+     SCENE I
+
+          PLACE: Dothan.
+
+          CHARACTERS: Reuben, Simeon, Levi, Judah, Issachar,
+          Zebulun, Dan, Naphtali, Gad, Asher, Joseph, Several
+          Ishmaelitish Merchants.
+
+          [_The ten brothers are sitting and lounging on the
+          ground, eating bread._]
+
+     _Reuben:_ Shall we stay longer in this place? Our flocks
+     have fed well in Shechem and Dothan. Let us return again
+     unto Canaan and to the tent of our father, Jacob.
+
+     _Judah:_ Oh, why should we go back? Our father loveth us
+     not! It is Joseph, our younger brother, that he favoreth!
+
+     _Levi:_ Yes, this Joseph! This dreamer of dreams! He
+     thinketh he is greater than we. He thinketh he shall rule
+     over us!
+
+     _Judah:_ Ye heard him when he said, "Hear this dream which I
+     have dreamed: Behold, we were binding sheaves in the field,
+     and, lo, my sheaf arose, and stood upright; and, behold,
+     your sheaves stood round about, and bowed down to my sheaf."
+
+     _Simeon:_ Ha! Shall he indeed reign over us? Or shall he
+     have dominion over us?
+
+     _Levi:_ Yea, and he dreamed yet another dream, for he said,
+     "Behold, the sun and the moon and the eleven stars bowed
+     down unto me."
+
+     _Dan:_ What is this dream which he has dreamed? Shall his
+     mother and father and eleven brethren indeed come to bow
+     down themselves to him?
+
+     _Simeon:_ Joseph and his dreams are hateful unto me! I was
+     glad when our father said to us, "Take the flocks to feed in
+     Shechem," for now we are free of him.
+
+     _Levi:_ It seemeth to me that I see this Joseph, this
+     dreamer whom we hate. He is yet afar off, but he surely
+     approacheth us!
+
+     _Reuben:_ Can it be he?
+
+     _Dan:_ Yes, for I see the coat of many colors, the coat our
+     father made for his favorite son.
+
+     _Levi:_ Why should he come to us? Cannot our father trust
+     the flocks to our hands without sending this Joseph to spy
+     on us?
+
+     _Dan:_ It is he! It is Joseph!
+
+     _Simeon:_ What shall we do?
+
+     _Judah:_ Our time is come. We despise him; let us slay him.
+
+     _Reuben:_ Nay, thou dost not mean to slay him!
+
+     _Several:_ Nay! Nay!
+
+     _Judah:_ We must surely slay him. We must rid ourselves of
+     this dreamer. Think how he said he should reign over us! Let
+     us be rid of him!
+
+     _Simeon:_ Yes, thou art right--we must slay him.
+
+     _Several:_ Yea, yea, slay him! Destroy him! He shall dream
+     no more such dreams!
+
+     _Simeon:_ Behold, this dreamer cometh near! Come, now, and
+     let us slay him, and cast him into some pit, and we will
+     say, "Some evil beast hath devoured him," and we shall see
+     what will become of his dreams.
+
+     _Reuben:_ Let us not kill him. Shed no blood, but cast him
+     into this pit that is in the wilderness, and lay no hand
+     upon him.
+
+          [REUBEN _goes away._]
+
+          [JOSEPH _runs up._ GAD _lays one hand roughly on his
+          shoulder._]
+
+     _Gad:_ How comes it that thou art here? What is thy
+     business?
+
+     _Joseph:_ My father commanded me and said, "Go, I pray thee,
+     and see whether it be well with thy brethren and well with
+     the flocks; and bring me word again." So he sent me out of
+     the vale of Hebron, and I came to Shechem. And you were not
+     there, and I came on after you and found you here. What
+     troubleth you? Hath aught happened to the flocks?
+
+     _Simeon:_ Hear his tale! This dreamer of dreams! So he would
+     reign over us, would he! Strip him of his coat of many
+     colors! This favored son!
+
+          [_Brothers bind_ JOSEPH _and cast him into the pit._]
+
+     _Joseph:_ What have I done to deserve this?
+
+          [_Brothers sit down again to eat their bread._]
+
+     _Gad:_ Behold, I see a caravan!
+
+     _Simeon:_ From what country?
+
+     _Gad:_ It is a company of Ishmaelites, from Gilead, with
+     their camels, bearing spicery and balm and myrrh, going down
+     into Egypt.
+
+     _Judah:_ What doth it profit if we slay our brother and
+     conceal his blood? Come, let us sell him to these
+     Ishmaelites and let not our hand be upon him, for he is our
+     brother and our flesh.
+
+     _Several:_ So be it.
+
+     _Gad:_ Hail the caravan, and bargain with these men.
+
+     _Simeon_ [_salutes the head man of the caravan; the brothers
+     listen attentively;_ GAD _brings_ JOSEPH _out of the pit_]:
+     What wilt thou give us in exchange for this lad? We would
+     sell him.
+
+     _Merchant_ [_looks_ JOSEPH _over, then consults with his
+     men_]: Twenty pieces of silver will we give for him.
+
+     _Simeon_ [_to the brothers_]: These merchants will give us
+     twenty pieces of silver for this dreamer.
+
+     _All:_ Sell him! Sell him!
+
+          [JOSEPH _is taken over by the merchants and they all
+          move on. The brothers are dividing out the money._]
+
+     _Gad:_ The lad is gone with the merchants, but what excuse
+     shall we make unto our father?
+
+     _Simeon:_ Say unto him that a wild beast hath devoured him.
+     Here is his coat of many colors--we will kill a goat and dip
+     the coat in the blood! Then our father, Jacob, will grieve
+     for his son!
+
+     _All:_ As thou sayest, so let us do!
+
+          [_Brothers move off stage, discussing the money._ REUBEN
+          _comes back. He runs and looks in the pit. He tears his
+          clothes when he finds that_ JOSEPH _is not there._]
+
+     _Reuben:_ The child is not, and I, whither shall I go?
+
+
+     SCENE II
+
+          PLACE: Egypt. In Pharaoh's palace.
+
+          CHARACTERS: Pharaoh, Joseph, Wise Men, Chief Butler,
+          Servants.
+
+          [_Pharaoh is sitting on his throne; many wise men come
+          in and bow down before him._]
+
+     _Pharaoh:_ Arise, O wise men of Egypt! I have sent for you
+     this day because of a dream which troubleth me.
+
+          [_Men stand up._]
+
+     _Wise Men:_ What is thy dream, O King?
+
+     _King:_ I dreamed, and, behold, I stood by a river, and
+     there came up out of the river seven fat cows, and they fed
+     in a meadow. And, behold, seven other cows came up after
+     them out of the river, ill-favored and lean. And the
+     ill-favored and lean cows did eat up the seven well-favored
+     and fat cows. Then did I awake, but the second time I slept
+     and dreamed. And, behold, seven good ears of corn came up
+     upon one stalk, and, behold, seven thin ears sprung up after
+     them, and the seven thin ears devoured the seven full ears.
+     And I awoke again, and, behold, it was a dream. Now, is
+     there one among you who can tell me the meaning of these
+     dreams, for my spirit is troubled because of them?
+
+          [_The wise men in turn come out and bow before the king
+          and say_]:
+
+     _First Wise Man:_ O my lord King, thy dream troubleth me,
+     but I am not able to interpret it.
+
+     _Second Wise Man:_ O King, also, I cannot tell thee the
+     meaning of thy dream.
+
+     _Third Wise Man:_ Most gracious King, I, also, am unable to
+     interpret thy dream.
+
+     _Fourth Wise Man:_ O great Pharaoh, I regret that I am
+     unable to help thee.
+
+     _Pharaoh_ [_angrily_]: Are ye called the wise men of Egypt,
+     and yet are ye not able to interpret a dream?
+
+          [_The chief butler comes forward and falls before the
+          king._]
+
+     _Butler:_ O great King, I am only thy chief butler, but I
+     beg of thee allow me to speak.
+
+     _King:_ Speak, butler, what wouldst thou say?
+
+     _Butler:_ O King, I do remember my faults this day. When
+     Pharaoh was wroth with his servants and put me in prison,
+     both me and the chief baker, behold, we dreamed a dream in
+     one night, and there was a young man, a Hebrew, and we told
+     him, and he interpreted to us our dream. And it came to pass
+     as he interpreted unto us, for I was restored unto mine
+     office and the baker was hanged.
+
+     _Pharaoh:_ Send for this young Hebrew; bring him into my
+     presence. [_Servant goes out for_ JOSEPH.] Butler, who is
+     this boy that interpreted thy dream?
+
+     _Butler:_ His name is Joseph, O King. He was brought down
+     from Canaan by a caravan and was sold to Potiphar, the
+     captain of Pharaoh's guard. But he displeased Potiphar, so
+     he was thrown into prison at the time thy servants were
+     there.
+
+          [_Enter_ JOSEPH. _He falls on his face before_ PHARAOH.]
+
+     _Pharaoh:_ I have dreamed a dream, and there is none that
+     can interpret it, and I have heard say of thee that thou
+     canst understand a dream to interpret it.
+
+          [JOSEPH _rises._]
+
+     _Joseph:_ It is not in me; God shall give Pharaoh an answer
+     of peace.
+
+     _Pharaoh:_ [_Repeats his dream to_ JOSEPH.]
+
+          [JOSEPH _comes nearer to_ PHARAOH.]
+
+     _Joseph:_ What God is about to do he sheweth unto Pharaoh:
+     Behold, there will come seven years of great plenty
+     throughout all the land of Egypt. And there shall arise
+     after them seven years of famine. And all the plenty shall
+     be forgotten throughout Egypt, and the famine shall consume
+     the land, and it shall be very grievous. Now therefore let
+     Pharaoh look out a man discreet and wise and set him over
+     the land of Egypt, and let him appoint officers over the
+     land. And let them gather all the food of those good years
+     that come, and lay up corn under the hand of Pharaoh. And
+     let them keep food in the cities. And that food shall be
+     stored against the seven years of famine, that the land may
+     not perish through famine.
+
+     _Pharaoh:_ This plan seemeth good unto me. Can we find such
+     a one as this is, a man in whom the spirit of God is?
+
+     _The Wise Men:_ Nay, O King, he is most wise.
+
+     _Pharaoh:_ Forasmuch as God hath shewed thee all this, thou
+     shalt be over my house, and according to thy word shall all
+     my people be ruled, only in the throne will I be greater
+     than thou. See, I have set thee over all the land of Egypt.
+     [_To his servants:_] Bring a golden chain, and fine raiment
+     for this man.
+
+          [_He puts a ring on_ JOSEPH'S _hand. When the clothes
+          are brought they are put around him, the chain on his
+          neck, etc._]
+
+     _Pharaoh:_ Thou shalt ride in the second chariot and all my
+     people shall bow the knee unto thee. [_All people in the
+     room bow._] I am Pharaoh, and without thee shall no man lift
+     up his hand or foot in all the land of Egypt.
+
+     _Joseph:_ May the Lord God give me power to do his will.
+
+
+     SCENE III
+
+          PLACE: Pharaoh's palace.
+
+          CHARACTERS: Joseph, His Eleven Brothers, Servants,
+          Pharaoh.
+
+          [JOSEPH _is seated on his high seat. A servant comes
+          in._]
+
+     _Servant:_ Master, the men that came down from Canaan to buy
+     food of thee have returned and would have a word with thee.
+
+     _Joseph:_ Bring them in. [_To another servant_]: Go see that
+     a feast is prepared for these men.
+
+          [_The brothers enter bringing_ BENJAMIN. _They all fall
+          on their faces._]
+
+     _Joseph:_ Arise! And have you returned bringing with you
+     your youngest brother?
+
+     _Reuben:_ O sir, we have brought our youngest brother; he is
+     here.
+
+          [BENJAMIN _is led forward._ JOSEPH _goes near and puts
+          his hand on_ BENJAMIN.]
+
+     _Joseph:_ And is this your younger brother of whom ye spake
+     unto me? God be gracious unto thee, my son! [_To the
+     brothers:_] Is your father well, the old man of whom ye
+     spake? Is he yet alive?
+
+     _Levi:_ Thy servant, our father [_all bow heads_], is in
+     good health; he is yet alive.
+
+          [JOSEPH _turns away and begins to weep; he leaves them
+          abruptly and walks to the other side of the room._]
+
+     _Joseph_ [_to the servants_]: Cause every man to go out from
+     me! [_All begin to leave the room, brothers included._] [_To
+     the brothers. He walks quickly after them and holds his arms
+     out toward them._] Stay! I am Joseph; doth my father yet
+     live? Come near to me, I pray you. [_They come somewhat
+     nearer and fall to the ground._] I am Joseph, your brother,
+     whom ye sold into Egypt. Now, therefore, be not grieved nor
+     angry with yourselves, that ye sold me thither, for God did
+     send me before you to preserve life. For these two years
+     hath the famine been in the land; and yet there are five
+     years more. God hath sent me before you to save your lives.
+     Haste ye, and go up to my father, and say unto him, "Thus
+     saith thy son Joseph, God hath made me lord of all Egypt.
+     Come down unto me, and tarry not. And thou shalt be near
+     unto me, thou and thy children, and thy flocks, and thy
+     herds and all thou hast. Oh, do you not see that I am Joseph
+     that speak unto you?" [_He weeps again and turns away._]
+
+     [Illustration: FIG. 1--Pharaoh's court]
+
+     _Brothers:_ Joseph, our brother Joseph! Can he forgive us?
+
+          [PHARAOH _enters here_]
+
+     _Joseph:_ O King, these are my brethren, and from my
+     father's tent.
+
+     _Pharaoh:_ Say unto thy brethren: "This do ye: Go back unto
+     the land of Canaan and take your father and your household
+     goods, and come unto me. And I will give you the good of the
+     land of Egypt, and ye shall eat of the fat of the land. Now
+     ye are commanded: This do ye: Take ye wagons out of Egypt
+     for your little ones, and for your wives, and bring your
+     father, and come, for the good of the land shall be yours."
+
+     _One Brother:_ We thank thee, O great Pharaoh, and our
+     brother Joseph. This is greater than we deserve. We will
+     bring our father down straightway.
+
+     _Joseph:_ Praise be to God who has done this good thing!
+
+     END
+
+
+
+
+CHAPTER IV
+
+THE DRAMATIZATION OF _DAVID AND GOLIATH_
+
+
+When beginning dramatic work with a group of children who have never
+had the training before, it is always well to select as the first story
+to be dramatized one that is short, simple in structure, and full of
+action. If children undertake a long story which involves complicated
+situations, they easily become discouraged and lose the joy and
+spontaneity which are essential elements in successful dramatizations.
+Fables, such as "The Boy and the Wolf" or "The Fox and the Grapes," are
+excellent to begin with, because they contain the necessary qualities
+which make up a good short story. Situations as simple as those which
+are presented in these fables are entered into with great freedom, and
+they seem to pave the way for more ambitious dramatizations.
+
+The story of _David and Goliath_ is short, simple, and yet contains
+vivid action. It was chosen as one of the first stories to be given to
+the dramatic club because of these qualities. After the children had
+gone through the experience of dramatizing it they had gained a
+self-confidence and a realization of their own power in interpreting a
+story through dramatization.
+
+The methods employed in presenting _David and Goliath_ were much the
+same as those described in connection with _Joseph._ The point that
+must be kept in mind in all of this work is that the dramatization of a
+story begins with the action and that the words are developed. The play
+is never written first and acted afterward.
+
+While telling the story the leader placed much emphasis upon the
+activities and ideals of the shepherd life of the Hebrews in the time
+of David. The children made their own armor--helmets, swords,
+shields--from cardboard and colored papers. Pictures and descriptions
+which they secured helped them to get correct ideas as to shapes and
+decorations.
+
+The costumes were simple little slips that could be belted in at the
+waist, and came only to the knees. The children helped to plan and make
+them. David made his shepherd staff from a limb of a tree, and the
+soldiers made their spears by fastening gilded points to long sticks.
+
+A question arose as to how the sling was made. The children found, upon
+looking up this point, that the sling was woven from different colored
+wools. From a good picture they constructed looms from cardboard and
+actually wove several slings like David's. Fig. 14 shows a diagram of
+the loom as the children worked it out.
+
+A very great value was derived from this construction work, in that it
+came entirely from the children; it was an outgrowth of their genuine
+interest in the subject. They were reliving the same experiences and
+solving the same problems that had confronted David.
+
+The gentle spirit of David had a direct influence upon the whole group.
+It made no difference what part a child interpreted--whether that of
+Goliath or of one of the brothers--it was evident that David's high
+ideals and sweetness of character called forth admiration.
+
+Fig. 2 gives one of the scenes from _David and Goliath._ The play
+follows as it was given.
+
+
+     DAVID AND GOLIATH
+
+          CHARACTERS: David, David's Three Brothers, King Saul,
+          Goliath, Israelite Soldiers, Philistine Soldiers.
+
+
+     SCENE I. THE CHALLENGE
+
+          PLACE: On the battlefield.
+
+     _First Brother:_ Have ye seen this Philistine who is come
+     up, this giant who has defied the armies of the living God?
+
+     _Second Brother:_ Who has seen him?
+
+     _Third Brother:_ I have seen him; he is verily a giant. His
+     height is six cubits and a span. He weareth an helmet of
+     brass upon his head, and he is armed with a coat of mail,
+     and he hath greaves of brass upon his legs, and the staff of
+     his spear is like the weaver's beam; and one bearing a
+     shield goeth before him. Our soldiers are truly afraid. They
+     flee as he approacheth.
+
+     [Illustration: FIG. 2.--A scene from _David and Goliath_]
+
+     _Goliath_ [_apart from the king and soldiers_]: Why are ye
+     come out to gather your armies to battle? Am I not a
+     Philistine, and ye servants to Saul? Choose you a man for
+     you, and let him come down to me. If he be able to fight
+     with me, and to kill me, then will we be your servants; but
+     if I prevail against him and kill him, then shall ye be our
+     servants and serve us. I defy the armies of Israel this day;
+     give me a man, that we may fight together.
+
+          [_Some of the soldiers turn and flee._]
+
+     _Saul:_ Hear the words of this Philistine. I know not what
+     we can do. Have we no man among us with the strength or
+     boldness to fight this giant? I will enrich him with great
+     riches.
+
+     _Second Brother:_ In truth, he is a mighty giant, O King.
+     Our soldiers are greatly dismayed; no one will accept this
+     challenge.
+
+          [_The king and two soldiers go out. Enter_ DAVID. _He
+          runs up to his brothers and salutes them._]
+
+     _First Brother:_ This is David, our younger brother! How
+     cometh it that thou art here?
+
+     _Second Brother:_ I thought we left thee tending the sheep.
+
+     _Third Brother:_ What news dost thou bring of our father? Is
+     all well with him?
+
+     _David:_ My father commanded me, saying, "Take now for thy
+     brethren this parched corn and these ten loaves, and run to
+     the camp of thy brethren; and carry these ten cheeses unto
+     the captain of their thousand, and look how thy brethren
+     fare." And I rose up early in the morning, and left the
+     sheep with a keeper, and came as my father commanded.
+
+          [_Brothers take food from_ DAVID.]
+
+     _Goliath:_ Why are ye come out to gather your armies to
+     battle? Am I not a Philistine, and ye servants to Saul?
+     Choose you a man for you and let him come down to me. If he
+     be able to fight with me and to kill me, then will we be
+     your servants; but if I prevail against him and kill him,
+     then shall ye be our servants and serve us. I defy the
+     armies of Israel this day; give me a man, that we may fight
+     together.
+
+          [DAVID _listens. The soldiers seem disturbed and
+          frightened._]
+
+     _David:_ What meaneth this?
+
+     _Soldier_ [_walks up to_ DAVID]: Have ye seen this man who
+     is come up? Surely to defy Israel is he come up. And it
+     shall be that the man who killeth him the king will enrich
+     with great riches, and will give him his daughter, and make
+     his father's house free in Israel.
+
+     _David:_ Who is this Philistine that he should defy the
+     armies of the living God?
+
+     _First Brother_ [_showing anger against_ DAVID]: Why camest
+     thou hither? And with whom hast thou left those few sheep in
+     the wilderness? I know thy pride, and the naughtiness of thy
+     heart; for thou art come down that thou mightest see the
+     battle.
+
+     _David:_ What have I now done? [_He turns from his brothers
+     and speaks to the people._] What shall be done with the man
+     that killeth this Philistine and taketh away the reproach
+     from Israel? For who is this Philistine that he should defy
+     the armies of the living God? I will fight him, and if I
+     prevail against him and kill him, then will the Philistines
+     be our servants and serve us. The Lord God of Israel will
+     deliver him into my hands.
+
+     _Soldiers:_ Saul, the king, shall hear these words!
+
+
+     SCENE II. DAVID BEFORE SAUL
+
+          PLACE: Saul's tent.
+
+     _David_ [_comes in and salutes the king_]: Let no man's
+     heart fail because of this giant; thy servant will go and
+     fight with this Philistine.
+
+     _Saul:_ Thou art not able to go against this Philistine to
+     fight with him; for thou art but a youth, and he a man of
+     war from his youth.
+
+     _David:_ Thy servant kept his father's sheep, and when there
+     came a lion or a bear, and took a lamb out of the flock, I
+     went out after him and smote him, and delivered it out of
+     his mouth; and when he rose up against me, I caught him by
+     the beard and smote him and slew him. Thy servant slew both
+     the lion and the bear; and this Philistine shall be as one
+     of them, seeing he hath defied the armies of the living God.
+     The Lord that hath delivered me out of the paw of the lion,
+     and out of the paw of the bear, he will deliver me out of
+     the hand of this Philistine.
+
+     _Saul:_ Go, and the Lord go with thee. [_To soldiers_]:
+     Bring forth armor; this youth must be ready to meet the foe.
+
+          [_The soldiers bring armor._ SAUL _puts the armor, a
+          helmet and a coat of mail, on_ DAVID. DAVID _puts on his
+          sword, then walks a few steps. He suddenly throws the
+          sword down and begins to take off the armor._]
+
+     _David:_ I cannot go with these, for I have not proved them.
+     [_He takes the armor off and keeps only his shepherd's staff
+     and sling._] The Lord that delivered me out of the paw of
+     the lion, and out of the paw of the bear, he will deliver me
+     out of the hand of this Philistine.
+
+          [_He bows to the king and goes out._]
+
+
+     SCENE III. THE BATTLE
+
+          PLACE: The battlefield.
+
+          [DAVID _picks up five smooth stones and puts them into
+          his shepherd bag._ GOLIATH _comes toward him. He is
+          dressed in armor, and the man that bears his shield
+          comes before him._ GOLIATH _looks surprised and
+          disgusted when he sees_ DAVID.]
+
+     _Goliath:_ Am I a dog that thou comest to me with staves?
+     Come to me and I will give thy flesh unto the fowls of the
+     air and unto the beasts of the field.
+
+     _David:_ Thou comest to me with a sword, and with a spear
+     and with a shield; but I come to thee in the name of the
+     Lord of hosts, the God of Israel, whom thou hast defied.
+     This day will the Lord deliver thee into mine hand; and I
+     will smite thee, and take thy head from thee; and I will
+     give the bodies of the Philistines unto the fowls of the
+     air, and unto the beasts of the field, that all may know
+     that there is a God in Israel. And all this assembly shall
+     know that the Lord saveth not with the sword and with the
+     spear, for the battle is the Lord's and he will give you
+     into our hands!
+
+          [DAVID _puts his hand into his bag and takes out a
+          stone and slings it, so that it hits the giant in the
+          forehead. The giant falls. The Philistines flee._ DAVID
+          _stands with his foot on the body of the giant._]
+
+     _Israelite Soldiers with David:_ The battle is the Lord's!
+
+     END
+
+
+
+
+CHAPTER V
+
+THE DRAMATIZATION OF _MOSES IN THE BULRUSHES_
+
+
+The method of presenting the story of _Moses in the Bulrushes_ differed
+somewhat from that employed with _Joseph._ There was little need to
+tell the story at the beginning, for every child already knew it in
+detail. Consequently the leader had the children tell most of it, while
+she supplemented and directed attention to important parts.
+
+In this case the entire play was planned roughly before any of it was
+acted. The story was criticized by the children as to its organization
+and unity, and as a result they made up an ending (Act III) which they
+felt was needed to make the story complete. Experience with the other
+plays had led the children to feel the necessity for having a
+satisfactory ending after the climax.
+
+At the second meeting several girls brought in the scenes as they had
+written them out. They had tried to embody the points which the
+children had decided upon as the general plan of the play. The final
+play varies very little from these scenes thus written by the girls
+themselves.
+
+There was no difficulty in solving the problem as to what they would do
+for a baby in the first part of the play. Many dolls were brought in,
+and the choice fell upon the one that received the largest number of
+votes because of his likeness to the baby Moses. A woven basket served
+for the cradle of bulrushes. There were many rehearsals when there was
+no doll or cradle, but the children never felt the lack. Their
+imaginations can supply all needs.
+
+A few big Egyptian designs were made for the first and last scenes,
+which were placed in the king's court. These were fastened on the walls
+and around the king's seat, as was done in the play of _Joseph._
+
+Before the play was given before parents and friends the children
+decided to call it _The Childhood of Moses._ An older boy in the church
+printed programs for the occasion that the audience might better
+understand the play. They read as follows:
+
+     THE CHILDHOOD OF MOSES
+
+     Dramatized and Presented by the Children's Dramatic Club of
+     the Hyde Park Church of Disciples
+
+            CHARACTERS
+
+     PHARAOH           King of Egypt
+     PRINCESS          Pharaoh's Daughter
+     MOSES             A Hebrew Boy
+     HEBREW WOMAN      Mother of Moses
+     MIRIAM            Sister of Moses
+     AARON             Brother of Moses
+     WISE MEN          Advisers of Pharaoh
+     Soldiers, Attendants to the Princess, Servants
+
+
+     SYNOPSIS OF SCENES
+
+     Act I. Pharaoh orders the killing of Hebrew boys.
+
+     Act II, Scene 1. In the home of a Hebrew family.
+
+             Scene 2. A Hebrew mother hides her child
+                      among the bulrushes.
+
+             Scene 3. The child is found by Pharaoh's
+                      daughter.
+
+     Act III. Moses is brought to Pharaoh's court.
+
+The following is the play as it was given:
+
+
+     THE CHILDHOOD OF MOSES
+
+     ACT I
+
+          CHARACTERS: King, Wise Man, Chief Adviser, Queen,
+          Maids, and Soldiers.
+
+     _King:_ Behold, the people of the children of Israel are
+     more and mightier than we. Come, let us do wisely with them
+     lest they rise up and make war against us.
+
+     _Chief Adviser:_ What more can we do than we have already
+     done? We have made their lives bitter with hard service, and
+     we have made them carry our brick and mortar and work in our
+     fields.
+
+     _Wise Man:_ O King Pharaoh, I beg thee to let me speak.
+
+     _King:_ Speak, Wise Man.
+
+     _Wise Man:_ O King, I pray thee to be kind to these people.
+     When these Hebrews first came down from the land of Canaan,
+     a young man named Joseph saved our land from great famine.
+     These Israelites are his children's children and we should
+     treat them kindly.
+
+     _King:_ Treat them kindly! We have been kind to them long
+     enough; we must destroy them. I will command that every
+     Hebrew boy baby be killed!
+
+          [_Exeunt_ KING _and courtiers followed by soldiers._]
+
+     _Princess:_ O most gracious father, have mercy upon them.
+
+
+     ACT II
+
+     SCENE I
+
+          PLACE: The home of a Hebrew family.
+
+          CHARACTERS: Moses, Mother of Moses, Miriam, Aaron.
+
+          [_The mother is singing to the baby in her lap._ AARON
+          _is playing on the floor._ MIRIAM _runs in._]
+
+     _Miriam:_ O mother! The king has commanded that all the boy
+     babies be thrown in the river! How can we save our baby?
+
+     _Mother:_ Where shall we take him? I have hidden him for
+     these three months, but he is so big now and his cries are
+     so loud that they will be sure to find him wherever we go.
+
+     _Miriam:_ Come quickly, mother; we will go to the river and
+     hide him nearby. Pharaoh cannot find him there, for he will
+     think that he has been thrown in the water.
+
+     _Mother:_ O my poor baby!
+
+          [_The three run out._]
+
+
+     SCENE II
+
+          PLACE: The river bank.
+
+          CHARACTERS: Moses, Mother of Moses, Miriam.
+
+          [_The mother appears with the baby in her arms._ MIRIAM
+          _follows._]
+
+     _Miriam:_ O mother! We can hide him in these tall grasses!
+
+     _Mother:_ But I must have something to put him in. Gather
+     these rushes and I will weave a little cradle for him.
+
+          [_They both pick bulrushes and the mother weaves the
+          basket._]
+
+     _Mother:_ How can I leave him here alone? My little
+     daughter, will you stay and watch and bring me word quickly
+     if anything happens? We will hide the baby in this basket
+     among the flags, here at the edge of the water.
+
+     _Miriam:_ Good! Mother, I will hide nearby and see that no
+     harm comes to our baby.
+
+          [_The mother kisses the baby and puts him in the basket,
+          then rises and turns away._]
+
+     _Mother:_ Keep watch until I return.
+
+          [_Exit mother;_ MIRIAM _hides._]
+
+
+     SCENE III
+
+          PLACE: The river bank.
+
+          CHARACTERS: The Princess, Her Maidens, Soldiers, Moses,
+          Mother of Moses, and Miriam.
+
+          [_Several soldiers walk across the stage. Enter_
+          PRINCESS _and her maids._]
+
+     PRINCESS [_looking around_]: What beautiful clear water for
+     my bath!
+
+     _First Maid:_ Yea, Princess. Will you bathe here?
+
+          [_A baby's cry is heard._]
+
+     _Princess:_ What is it I hear? It sounds like a baby crying!
+     Look about, maidens! Is there something here?
+
+          [_All look about._]
+
+     _Second Maid_ [_finds baby; all come running up to her_]:
+     See what is here!
+
+     _Princess:_ A baby hidden in a basket! Bring him to me!
+
+          [_Third maid hands basket to_ PRINCESS, _who takes the
+          baby out._]
+
+     _Princess:_ Oh, what a beautiful baby! He is mine, for I
+     have found him! A Hebrew baby! His mother has hidden him in
+     the bulrushes to save his life.
+
+          [MIRIAM _runs out._]
+
+     _Miriam:_ Lady, would you like a nurse for that baby?
+
+     _Princess:_ A nurse for him? Yes, I do need a nurse.
+
+     _Miriam:_ I can get you one very quickly.
+
+     _Princess:_ Go bring her, child; I will wait here.
+
+          [MIRIAM _goes away running._]
+
+     _Princess:_ He is my boy, and I will call him Moses, for I
+     drew him out of the water.
+
+          [_Enter the mother and_ MIRIAM.]
+
+     _Miriam:_ Here is the nurse, lady.
+
+     _Princess:_ Will you take good care of this baby for me
+     until he becomes a youth? I will pay you wages. I am the
+     Princess, King Pharaoh's daughter. I will see that he is
+     educated as a prince in my father's court.
+
+          [PRINCESS _and her maids go out._]
+
+     _Mother:_ My boy is saved! My boy is saved!
+
+
+     ACT III
+
+     SCENE I
+
+          PLACE: Pharaoh's palace.
+
+          CHARACTERS: King Pharaoh, Princess, Maids, Soldiers,
+          Wise Men, Mother of Moses, Moses, Miriam, Aaron.
+
+          [_King sits on his throne, wise men and soldiers around.
+          Enter messenger._]
+
+     _Messenger:_ O King, the Princess awaits without and would
+     have speech with thee.
+
+     _King:_ Bid her enter.
+
+          [_Enter_ PRINCESS _and a few attendants._]
+
+     _Princess:_ O gracious King and father, I have a request,
+     and I beg that you grant it.
+
+     _King:_ Speak, my Princess; do I not always grant what you
+     ask?
+
+     _Princess:_ Yes, father, and I know that you will grant me
+     this. Several years ago I adopted a son and I ask that you
+     allow him to be educated in your palace.
+
+     _King:_ Adopted a son! What can be the meaning of this? I
+     never heard of this! Where did you get the boy?
+
+     _Princess:_ I found him, a little baby, hidden among the
+     rushes by the river bank.
+
+     _King:_ Why was he hidden? That is strange!
+
+     _Princess:_ He is a Hebrew boy, O father.
+
+     _King:_ A Hebrew boy! Did I not command that every Hebrew
+     boy should be killed?
+
+     _Princess:_ I must take the blame; I had his life spared.
+     Will you not let him be brought here?
+
+     _King:_ No, I will not! No Hebrew boy shall be brought here!
+
+     _Princess:_ If you would only see him, he is so beautiful,
+     you would love him as I do. He is without; permit me to show
+     him to you.
+
+     _King:_ Bring him in.
+
+          [_Maid goes to get_ MOSES. MOSES _enters with his
+          mother_, MIRIAM, _and_ AARON. PRINCESS _leads him to
+          the_ KING.]
+
+     _Princess:_ This is my son. Is he not a wonderful boy?
+
+     _King:_ He is fair to look upon, but yet he is a Hebrew.
+
+     _Princess:_ O my father, forget that he is a Hebrew and
+     remember only that he is my son.
+
+     _King:_ O my Princess, for your sake, I accept this boy. I
+     leave his training to you. May he grow up to be a prince
+     worthy of the house of Pharaoh.
+
+     END
+
+
+
+
+CHAPTER VI
+
+THE DRAMATIZATION OF _RUTH_
+
+
+_Ruth_ was dramatized by the club during the fall of the year because
+it is a story of the Hebrew harvest time. In order fully to interpret
+the life of Ruth it was necessary for the children to secure
+information concerning the barley harvest in ancient Palestine, and
+also to become familiar with the old customs involved in the story.
+Many children brought pictures which illustrated the points under
+discussion, and some of them contributed by telling what they had been
+able to read at home. Independence on the part of the children in
+looking up data was always encouraged by the leader; the information
+which she had to give enriched and supplemented that which was brought
+in by them.
+
+During the process of this dramatization constant comparisons were made
+with our own harvest time, and the study of the Hebrew harvest feasts
+and festivals served to increase the understanding and appreciation of
+our one harvest festival at Thanksgiving.
+
+The method of procedure in presenting this story for dramatization
+follows closely that described in connection with _Joseph._ The Bible
+version of _Ruth_ is so simply and beautifully told that it needed
+very little adapting. When it was first given to the children parts of
+it were read and parts were told by the leader. Many scenes were then
+planned, but these were soon cut down to the three necessary scenes.
+From the first the children used much of the Bible language as they
+acted the story. The beauty and the poetry of it caused them to
+remember readily the exact wording in many cases.
+
+Seven meetings were required before the group was satisfied with the
+play as a product of their best effort. As was the case with the other
+plays given by the club, the children who were to take the parts in the
+final presentation were selected by the group and not by the leader in
+charge. Every child knew each part and could represent any character,
+but children were chosen for specific parts because they seemed to
+represent certain characters unusually well.
+
+The dramatization of this story called for much construction work. The
+reapers made their sickles of cardboard and covered them with gold or
+silver paper or painted them. They found pictures which gave the shape,
+and from these they cut the patterns (Fig. 15). One little girl brought
+a real sickle which had once belonged to a Filipino. It gave her
+happiness to reap with it, but the others were just as content to use
+the sickles from cardboard.
+
+The need for a harvest song was felt, and in consequence a little song
+that most of the children knew was decided upon. The reapers sang it as
+they reaped and while Boaz was walking through his grain field. There
+was no real grain nor anything to represent it, the children deciding
+to leave this to the imagination. The action of the reapers and the
+words that were spoken gave evidence enough that grain was growing
+there.
+
+There was very little stage setting used in the play. The stage was
+bare in the first scene in order to represent the road from Moab to
+Bethlehem. In the second scene a big earthenware jar was needed from
+which the reapers could drink. The third scene required a box which
+represented a seat by the city gate; the door which led off the stage
+at the side was used for the gate.
+
+The action and the grouping of people in the third scene required
+careful planning by the children. Women came through the gate and
+passed down the street with water jugs on their shoulders; men gathered
+in groups to discuss bits of news; Boaz walked toward the gate and sat
+waiting for his kinsman. Finally, when the cousin appeared, Boaz hailed
+him and had him sit down. The citizens who were standing near were
+asked to be witnesses in this business transaction. That one man should
+take off his shoe and hand it to another was a custom that created much
+interest among the children. They began to examine pictures for the
+kinds of shoes that were worn, and this led many of them to wear their
+own sandals, which approached most nearly to those seen in the
+pictures. The children who did not own sandals tried to make them with
+cardboard and strips of cloth (see Fig. 26).
+
+The costuming was very simple. The reapers wore the same little brown
+slips which had been worn in every play that had been given. Boaz
+enriched his costume by wearing brighter colors in his headdress and
+girdle and by wearing a slip that was longer than the others.
+
+The play follows as it was finally given.
+
+
+     RUTH
+
+
+     SCENE I
+
+          PLACE: In Moab, on the road to Judah.
+
+          CHARACTERS: Naomi, Ruth, Orpah.
+
+          SETTING: Naomi, Ruth, Orpah, are on the road going
+          toward Judah.
+
+          [NAOMI _stops and faces about._]
+
+     _Naomi:_ Turn back, my daughters-in-law; return each of you
+     to your mother's house. You have come with me far enough. I
+     must take the rest of my journey alone.
+
+     _Orpah and Ruth:_ Oh, do not send us back! We will not leave
+     thee!
+
+     _Naomi:_ Yea, you must leave me now. I am going home to my
+     own country and my own people, to Bethlehem, Judah! It is
+     ten long years since I left there to come to dwell in your
+     land of Moab. But now that the famine is over I must
+     return.
+
+     _Orpah:_ But, Naomi, our mother-in-law, we love thee. Do not
+     thou leave us!
+
+     _Naomi:_ I must go. I came to this country happy--with my
+     husband and two sons--but misfortune has dealt bitterly with
+     me. My husband first died, and now my two sons, your
+     husbands, are taken from me. I am old and sad. I have no one
+     left to comfort me. I must go back to mine own people. Leave
+     me, my daughters, and God bless you!
+
+          [_Both daughters weep._]
+
+     _Orpah_ [_weeping and kissing_ NAOMI]: If thou wilt be
+     happier, then thou must leave us. I will return to my
+     mother's house as thou sayest. [_She goes off slowly,
+     weeping._]
+
+          [RUTH _still stands by weeping. Takes hold of_ NAOMI'S
+          _hand._]
+
+     _Naomi:_ Behold, Orpah, thy sister-in-law, has gone back to
+     her people and unto her gods; return thou after thy
+     sister-in-law.
+
+     _Ruth:_ Intreat me not to leave thee, nor to return from
+     following after thee: for whither thou goest, I will go; and
+     where thou lodgest, I will lodge; thy people shall be my
+     people, and thy God my God: where thou diest, will I die,
+     and there will I be buried: the Lord do so to me, and more
+     also, if aught but death part thee and me.
+
+     _Naomi:_ Since thou art so steadfastly minded to go with me,
+     Ruth, I will cease urging thee. Come, thou mayest go with me
+     to Bethlehem.
+
+
+     SCENE II
+
+          PLACE: In the barley fields of Boaz.
+
+          TIME: The harvest season.
+
+          CHARACTERS: Boaz, Ruth, Head Reaper, Reapers, Gleaners.
+
+
+          [_The reapers come in with their sickles, followed by
+          the gleaners._]
+
+     _Head Reaper:_ Truly we have a wonderful harvest this year!
+
+     _First Reaper:_ Yea, we will have food enough for ourselves
+     and for all the poor in our city of Bethlehem.
+
+     _Head Reaper:_ It is the great God that hath given us this
+     bounty.
+
+          [_All sing harvest song as they reap. While they are
+          singing_ RUTH _comes in and begins to pick up the
+          grain._]
+
+     _Second Reaper_ [_looking toward the entrance to the
+     field_]: The master is coming, the great Boaz!
+
+          [_All reapers look in that direction as they stand,
+          resting their sickles on the ground._ BOAZ _enters._]
+
+     _Boaz:_ The Lord be with you!
+
+     _Reapers:_ The Lord bless thee!
+
+          [_All go to work again, singing as before._ BOAZ _walks
+          among them; he sees_ RUTH _and watches her._]
+
+     _Boaz_ [_to the_ HEAD REAPER]: My good man, I would speak a
+     word with thee; come hither.
+
+     _Head Reaper:_ Speak, O master!
+
+     _Boaz:_ Whose damsel is this that gathereth grain after the
+     reapers?
+
+     _Head Reaper:_ My master, she is Ruth, the Moabitish damsel
+     that came back with Naomi, thy kinswoman. She hath been
+     gleaning here since early morning.
+
+     _Boaz:_ Go, bid the reapers not to harm her, and bid them
+     let fall purposely some of the handfuls of grain for her.
+
+          [_The_ HEAD REAPER _bows low and goes back among the
+          reapers._]
+
+     _Boaz_ [_to_ RUTH]: Hearest thou not, my daughter? Go not to
+     glean in another field, but stay here by my reapers. Let
+     thine eyes be on the reapers, and do thou glean that which
+     they leave behind. When thou art athirst, go unto the
+     vessels and drink that which the young men have drawn.
+
+     _Ruth_ [_bows to the ground_]: Why have I found such favor
+     in thine eyes, seeing that I am a stranger in the land?
+
+     _Boaz:_ It has been told me of thy great kindness to thy
+     mother-in-law, Naomi; how thou didst leave thine own people
+     to come with her and be among strangers; and how thou didst
+     leave thy gods to take the God of the children of Israel.
+     The Lord will bless thee for this.
+
+     _Ruth:_ I thank thee, O great Boaz, for thou hast comforted
+     me and thou hast spoken friendly words unto me.
+
+     _Boaz:_ Come hither at meal times and eat of the bread and
+     dip thy morsel in the vinegar with my reapers.
+
+          [_The reapers have departed._ BOAZ _goes off._]
+
+     _Ruth:_ The Lord God is truly good unto me!
+
+
+     SCENE III
+
+          PLACE: At the gate of the city.
+
+          CHARACTERS: Boaz, a Cousin of Naomi, Ten Citizens, Ruth,
+          Naomi.
+
+          [_Several citizens stand in groups, talking._ BOAZ
+          _enters._]
+
+     _Boaz_ [_speaks to one of the group_]: Hast thou seen my
+     cousin pass this way? I am seeking him.
+
+     _First Citizen:_ Nay, good sir, I have not seen him.
+
+     _Boaz:_ I must speak with him; I will wait here by the city
+     gate; perchance he will come soon.
+
+          [_One or two citizens pass by and speak to_ BOAZ,
+          _saying, "Good-day, sir." Enter_ KINSMAN.]
+
+     _Boaz:_ Ho, Kinsman, turn aside! I would have a word with
+     thee. Sit thee down.
+
+          [KINSMAN _sits down._]
+
+     _Kinsman:_ What wilt thou, Cousin?
+
+     _Boaz:_ I would speak about a matter of importance; wait
+     thou here until I can bring witnesses. [_He turns to
+     citizens._] A piece of land is about to be sold; will ten
+     citizens witness this deed?
+
+     _Citizens:_ Aye, indeed. [_They come forward._]
+
+     _Boaz:_ Sit ye down here. [_They sit down._] [_To_ KINSMAN]:
+     Dost thou remember Naomi, our kinswoman, who went with her
+     husband and two sons to the land of Moab?
+
+     _Kinsman:_ Yea, I do know Naomi.
+
+     _Boaz:_ She selleth a parcel of land which was her
+     husband's. Now, thou art nearest of kin to Naomi, so I
+     thought to advise thee that thou mayest have the first
+     chance to redeem the land in the presence of the elders of
+     the city. If thou dost not care to redeem it, then the right
+     to redeem it cometh to me, for I am next of kin. What wilt
+     thou do?
+
+     _Kinsman:_ I will buy the land from our kinswoman, Naomi.
+
+     _Boaz:_ On the day that thou buyest the field from the hand
+     of Naomi, thou also takest Ruth, the Moabitess, for thy
+     wife, according to our custom and law.
+
+     _Kinsman:_ Then I will not redeem the land, for I cannot
+     take Ruth for my wife. Take thou my right to redeem it and
+     buy it for thyself.
+
+     _Boaz_ [_taking off his shoe and giving it to the_ KINSMAN,
+     _he says to the witnesses_]: Ye are witnesses this day that
+     I have bought this parcel of land from Naomi and that I buy
+     also, as my wife, Ruth, the daughter-in-law of Naomi. Of all
+     this ye are witnesses.
+
+     _Citizens:_ We are witnesses. [_Bow._]
+
+          [KINSMAN _returns shoe to_ BOAZ _and walks off._ RUTH
+          _and_ NAOMI _come through the street._]
+
+     _Boaz:_ Ye are well met, Naomi, my kinswoman, and Ruth. I
+     have good news for you; I have bought your land and I can
+     now take Ruth for my wife. Come, all ye fellow-citizens, for
+     the wedding feast is prepared at my house!
+
+          [_Takes_ RUTH _by the hand._]
+
+     _Naomi:_ Blessed am I that I should live to see this good
+     thing come to pass! The Lord hath been most gracious unto
+     me!
+
+     END
+
+
+
+
+CHAPTER VII
+
+THE DRAMATIZATION OF _QUEEN ESTHER_
+
+
+The story of Esther involves a much more complicated situation than any
+of the others here described. It is not too difficult for
+dramatization, however, if it is taken after such stories have been
+worked out as _David and Goliath_ and _Joseph._
+
+In the case of this dramatic club the story of Esther was told to the
+children after they had had much experience with other plays. The
+interesting plot and the beauty and richness of the court made so great
+an appeal to them that they were eager to begin the dramatization. The
+story was first simplified and adapted by the leader, and then told in
+such a manner as to emphasize the main events. The method of procedure
+followed that described in chapter iii in connection with the story of
+Joseph. After the telling of the story the scenes were selected. These
+were acted out very freely at first, little thought being given to the
+words. Many pictures were brought in, and descriptions of the court of
+King Ahasuerus were read by the children from the Bible and from books
+of Bible stories.
+
+In the second scene the children decided to have the maidens dance
+before the King. Several little girls who were trying out the part of
+Esther made up dances for themselves. This feature made this scene
+especially attractive.
+
+This play was longer than those that had previously been dramatized,
+and it therefore took a longer period of time to bring it into final
+shape. There is no reason to hurry a dramatization. If the aim of this
+kind of work is kept in mind, there will be growth on the part of the
+children at each meeting. The value lies, not in how many stories can
+be dramatized during a year, but in how thoroughly the children are
+reliving a few good stories.
+
+The play of _Queen Esther_ made it necessary to construct several
+articles. Gold dishes of various kinds were made by covering cardboard
+with gold paper. These were used at the Queen's banquet. From the many
+scepters that were submitted the King chose the one for final use.
+Elaborate gowns and headdresses were gathered; beads and jewels of all
+descriptions were made from brilliantly colored papers.
+
+The children took the responsibility of the costuming. The majority of
+them planned their own garments and either brought things from home or
+selected some suitable costume from those which the club had on hand.
+Two of the older girls took entire charge of the younger ones and saw
+to it that each had some simple slip to wear in the play.
+
+The play follows as it was finally worked out by the children.
+
+
+     THE STORY OF QUEEN ESTHER
+
+     SCENE I
+
+          PLACE: The King's palace--Shushan.
+
+          CHARACTERS: King Ahasuerus (king of Media and Persia),
+          Haman (chief counselor), Persian Princes, Servants.
+
+          [_The_ KING _is seated on his throne, princes seated
+          before the_ KING, _and_ HAMAN _is seated by the_ KING'S
+          _side. Servants are bringing drinks in golden vessels._]
+
+     _King:_ The seventh day of this feast hath come, and on this
+     day will I bring my beautiful Queen, Vashti, before you. The
+     princes of my land must depart, bearing a good report of my
+     fair Queen as well as of the great riches of my court.
+     Chamberlains, come forth! [_The servants come before the_
+     KING _and bow._] I command you to bring Vashti, the Queen,
+     before my presence. [_Servants withdraw._]
+
+     _First Prince:_ O King, this is a great honor that thou
+     bestowest upon us!
+
+     _Second Prince:_ Yea, Vashti, the Queen, is already known
+     over the land for her wondrous beauty. We are most happy
+     that thou wilt allow thy servants to behold her.
+
+     _Third Prince:_ What wonderful tidings we will spread over
+     thy provinces, O King. Thy people do not know the half of
+     thy riches and thy wonderful greatness and generosity.
+
+          [_Enter servants. They bow low._]
+
+     _King:_ Rise; what is thy message?
+
+          [_They do not rise._]
+
+     _First Servant:_ O King, be merciful unto us!
+
+          [_They bow lower._]
+
+     _King:_ What meaneth this? Speak! [_in astonishment_] I
+     command thee. Where is the Queen?
+
+     _Second Servant:_ O great King, we delivered thy message as
+     thou didst command, but the Queen has refused to come before
+     thy presence.
+
+          [_All the princes and the_ KING _show surprise and
+          anger._]
+
+     _King:_ Refused to obey me? This is impossible! Are ye
+     certain that she understood the meaning of my command?
+
+     _Servants:_ We are, O King.
+
+     _King:_ She hath refused! It cannot be! [_He looks absently
+     away._] She must be punished.
+
+     _Haman:_ What shall we do to Queen Vashti according to the
+     law, because she hath not performed the commandment of King
+     Ahasuerus?
+
+     _First Prince:_ She hath not done wrong to the King only,
+     but also to all the princes of the land, for this deed of
+     the Queen shall become known unto all the women of Media and
+     Persia and they shall despise the command of their husbands:
+     "Because," they shall say, "King Ahasuerus commanded Vashti,
+     the Queen, to be brought before him and she came not."
+
+     _Second Prince:_ What shall we do? This will cause great
+     trouble and disobedience.
+
+     _King:_ What thinkest thou, Haman, my chief counselor?
+
+     _Haman:_ If it please the King, let there go forth a royal
+     commandment and let it be written among the laws of the
+     Medes and Persians that Vashti come no more before
+     Ahasuerus, and let the King give her royal estate to
+     another that is better than she. Then when this decree
+     shall become known all wives shall give honor unto their
+     husbands.
+
+     _King:_ This saying pleaseth me greatly. I shall do
+     accordingly. [_To servants_]: Send letters unto every
+     province to every people, which shall state this decree, so
+     that every man shall know it.
+
+     _Haman:_ O King, I pray thee, let there be fair maidens
+     brought before thee from which thou shalt choose another
+     which shall be thy Queen.
+
+     _King:_ So be it! See that fair maidens from every province
+     be brought here to my palace; and the one that pleaseth me
+     best, I will take her for my Queen.
+
+          [_All bow._]
+
+
+     SCENE II
+
+          PLACE: At Shushan, the palace.
+
+          CHARACTERS: King Ahasuerus, Mordecai, Maidens, Haman,
+          Servants, Courtiers.
+
+          [_Two servants are standing in the court room of  the
+          palace. Enter a messenger followed by_ ESTHER _and_
+          MORDECAI.]
+
+     _Messenger_ [_announces to the servants in the room_]: This
+     maiden has come to see the King.
+
+          [_He goes out._]
+
+     _First Servant:_ This is the place. Wait thou here. [_To_
+     MORDECAI]: What art thou here for? Thou wilt have to depart.
+
+     _Mordecai:_ I only brought this maiden. I beg of thee let me
+     have a few words with her; then I will withdraw.
+
+     _First Servant:_ Speak then quickly, before the King cometh.
+
+          [_Servants withdraw to another part of the room._]
+
+     [Illustration: FIG. 3.--Esther and Mordecai]
+
+     _Mordecai_ [_taking_ ESTHER'S _hand_]: Esther, my child,
+     thou art like my very child, for although I am but thy uncle
+     I have been as a father to thee. I bid thee farewell now,
+     for it seemeth to me that the King will surely choose thee
+     to be his Queen--thou art so fair. This one thing remember,
+     tell him not that thou art a Jewess. Fare thee well, Esther!
+     May the Lord bless thee!
+
+     _Esther:_ Farewell to thee, Mordecai!
+
+          [MORDECAI _goes out. Other maidens come in announced by
+          the messenger._]
+
+     _Messenger:_ These maidens would see the King.
+
+          [_The servants show them where to sit. Enter second
+          messenger._]
+
+     _Second Messenger:_ The King! The King!
+
+          [_Enter_ KING _and_ HAMAN. KING _sits on his throne._]
+
+     Second Servant [_bowing before the_ KING]: O King, the
+     maidens from all parts of the country have arrived and await
+     thy pleasure.
+
+     _King:_ Let them come before my presence one at a time, and
+     I will choose from among them the one that seemeth most
+     fair.
+
+          [_The musicians begin playing and, one by one, the
+          maidens come out. They bow and dance._ ESTHER _comes
+          last of all. As_ ESTHER _dances the_ KING _speaks._]
+
+     _King:_ What marvelous beauty! Surely this maiden is fair
+     enough to be my Queen.
+
+     _Haman:_ Yea, O King, thou art right; she should be thy
+     Queen.
+
+     _King_ [_takes_ ESTHER'S _hand_]: What is thy name, fair
+     maid?
+
+     _Esther:_ My name is Esther, O King.
+
+     _King:_ Esther, I do here take thee to be my Queen. Bring
+     the royal crown and the Queen's robes!
+
+          [_Servants come immediately and put them on her._]
+
+     [Illustration: FIG. 4.--Esther dances before the king]
+
+     _King_ [_leading_ ESTHER _out_]: Come unto the wedding feast
+     which is now prepared. All are welcome!
+
+
+     SCENE III
+
+          PLACE: The palace gate.
+
+          CHARACTERS: Haman, Mordecai, Servants, Esther.
+
+          [_Servants are standing and walking by the gate. Women
+          come by carrying water jars._ MORDECAI _stands apart
+          from the crowd._ HERALD _comes in._]
+
+     _Herald:_ Bow the knee, bow the knee. The chief counselor,
+     Haman, approacheth! Thus saith the King.
+
+          [HAMAN _comes in. All bow to him except_ MORDECAI.]
+
+     _Haman_ [_pointing to_ MORDECAI]: Who is this man who doth
+     not bow the knee to me?
+
+     _First Servant:_ He is Mordecai, the Jew, my lord. [_To_
+     MORDECAI]: Why dost thou break the King's commandment?
+
+     _Haman:_ Thou Jew! Dost thou think that thou art mightier
+     than I, whom the King hath set above all the princes of the
+     land? Thou shalt suffer for this. [_Turns to servant._] Send
+     letters unto all the King's provinces, to destroy, to kill,
+     and to cause to perish all Jews, both young and old, little
+     children and women, in one day--even upon the thirteenth day
+     of the twelfth month, and to take the spoil of them for
+     prey.
+
+          [_Servant bows and goes away._ HAMAN _passes on,
+          leaving_ MORDECAI _with two servants._ MORDECAI, _in
+          deep thought, walks anxiously up and down._]
+
+     _Mordecai:_ I must see Queen Esther. Canst thou not take me
+     to the Queen?
+
+     _Second Servant_ [_laughing scornfully_]: Thinkest thou that
+     the Queen will see thee?
+
+     _Mordecai:_ Give the Queen this paper and say to her that I,
+     Mordecai, the Jew, bid her come to me.
+
+          [_Servant withdraws._]
+
+     _Mordecai_ [_walking, talks to himself_]: Israel, O Israel,
+     my people! You shall not perish. Esther, your Queen, will
+     save you.
+
+          [_Enter_ ESTHER.]
+
+     _Esther:_ Mordecai, my uncle, why art thou here? Thou
+     lookest unhappy. Hath aught happened to thee?
+
+     _Mordecai:_ Yea, Esther, I am unhappy. I have sorrowful news
+     to tell thee.
+
+     _Esther:_ Chamberlains, withdraw! Speak, Mordecai; tell me
+     quickly. It may be that I can help thee.
+
+     _Mordecai:_ Esther, thou canst help me, and thou art the
+     only one who can. Haman, the King's counselor, hateth the
+     Jews--thy people and mine. He hath sent a decree over all
+     the country commanding that every Jew, both old and young,
+     little children and women, be killed on the thirteenth day
+     of the twelfth month. Esther, thou must save thy people and
+     thyself? Thou must go before the King and beg of him that he
+     spare thy people.
+
+          [ESTHER _shows great distress._]
+
+     _Esther:_ Oh, what shall I do? Dost thou not know that for
+     one who dareth to go before the presence of the King, if the
+     King hath not called him, there is certain death; except to
+     whom the King shall hold out the golden scepter--he may
+     live? I have not been called to come in unto the King these
+     thirty days. He will surely put me to death for such
+     boldness.
+
+     _Mordecai:_ Thou must go unto the King even so. Think not
+     that thou wilt escape death from Haman because thou art in
+     the King's house. Who knoweth but that thou hast been made
+     Queen for such a time as this!
+
+     _Esther_ [_after thinking deeply_]: Go, gather together all
+     the Jews that are present in Shushan, and fast ye for me,
+     and neither eat nor drink for three days, night or day, I
+     also and my maidens will fast likewise--and so I will go in
+     unto the King, which is not according to the law, and if I
+     perish, I perish.
+
+     _Mordecai:_ May the Lord go with thee!
+
+
+     SCENE IV
+
+          PLACE: In the court of the King's palace.
+
+          CHARACTERS: King Ahasuerus, Esther, Haman, Courtiers,
+          Servants.
+
+          [_The King sits on his throne._ QUEEN ESTHER _enters
+          and bows before the_ KING. _The_ KING _looks at her in
+          astonishment._]
+
+     _Courtiers_ [_in loud whispers_]: The Queen! It is the
+     Queen!
+
+     _King:_ Esther, hast thou dared to come before my presence
+     when I have not called thee? Thou surely dost not know what
+     thou art doing! This act of boldness can mean thy death! But
+     thou art so beautiful, Esther, I cannot be hard with thee.
+     Rise! [_He holds out the golden scepter._] What is the
+     request that has brought thee here? It shall be given thee,
+     even though it be half of my kingdom.
+
+          [ESTHER _touches the scepter and rises._]
+
+     _Esther:_ If it seemeth good unto the King, let the King and
+     Haman come this day unto the banquet that I have prepared
+     for them.
+
+          [_She turns and goes out._]
+
+     _King:_ Hearest thou, Haman? Make haste and let us do as
+     Esther hath said. Come, we will prepare for this banquet.
+
+          [HAMAN _bows. The_ KING _and_ HAMAN _go out. Others
+          follow._]
+
+     [Illustration: FIG. 5.--The king holds out the scepter to
+     Esther]
+
+
+     SCENE V
+
+          PLACE: The Queen's apartment.
+
+          CHARACTERS: Queen Esther, King Ahasuerus, Haman,
+          Servants, Mordecai.
+
+          [_The servants are preparing the feast. Enter_ ESTHER.]
+
+     _Esther:_ See ye that the feast is in readiness, for the
+     King will soon arrive.
+
+          [_Servants bow._]
+
+     _Servant:_ The King cometh!
+
+     _Esther_ [_going to meet the_ KING _as he enters_]: Welcome,
+     my lord!
+
+          [_The_ KING _sits upon a throne prepared for him._]
+
+     _King:_ I am happy to be with thee, my fair Queen. Thou must
+     have a request which thou desirest to make--speak, be not
+     afraid. I will grant it though it be half of my kingdom.
+
+     _Esther:_ If I have found favor in thy sight, O King, and if
+     it please the King, let my life be saved and the lives of my
+     people--the Hebrew people. We are to be destroyed, to be
+     slain and to perish.
+
+     _King:_ Thy people? The Hebrew people? Who is this and where
+     is he that dareth in his heart to do this thing to thy
+     people?
+
+     _Esther:_ The enemy is thy chief counselor, this wicked
+     Haman.
+
+     _King:_ Did Haman do this deed? How didst thou know of his
+     plan?
+
+     _Esther:_ O King, Mordecai, the Jew, my uncle, hath shown me
+     the letter which Haman hath sent over the country. The Jews
+     are to be killed on the thirteenth day of the twelfth month.
+     I am begging thee for my life and for the lives of my
+     people!
+
+     [Illustration: FIG. 6.--Queen Esther pleads for her people]
+
+     _King:_ Fear not, Esther; thy people shall be saved.
+     Mordecai, the Jew, hath once done me a great service. He
+     hath not been rewarded for this. He shall have honor, for he
+     deserveth it.
+
+     _Servant:_ The great Haman hath come, O Queen.
+
+          [HAMAN _enters; they seat themselves, and the feast is
+          served._]
+
+     _King:_ Haman, what shall be done unto the man whom the King
+     delighteth to honor?
+
+     _Haman_ [_aside_]: Whom would the King like to honor more
+     than myself? [_To the_ KING]: For the man whom the King
+     delighteth to honor, let the royal apparel be brought which
+     the King useth to wear, and the horse which the King rideth
+     upon, and the royal crown which is set upon his head; and
+     let these be given the man whom the King delighteth to
+     honor; and let him ride on horseback through the streets of
+     the city; and proclaim before him, "Thus it shall be done
+     unto the man whom the King delighteth to honor!"
+
+     _King:_ Make haste and take the royal apparel and the horse
+     as thou hast said and do even so unto Mordecai, the Jew,
+     that sitteth at the King's gate. Let nothing fail of all
+     that thou hast spoken.
+
+          [HAMAN _bows his head low and goes out to_ MORDECAI.]
+
+     _Servant:_ O King, Haman hath built a gallows upon which to
+     hang Mordecai, the Jew, this day.
+
+          [HAMAN _returns with_ MORDECAI _and puts on the crown,
+     etc._]
+
+     _King:_ Let him who hath made the gallows hang upon it!
+
+          [_Servant takes_ HAMAN _out._]
+
+     _King:_ Come near, Mordecai. Thou hast found great favor in
+     mine eyes. From henceforth thou shalt be my chief counselor,
+     and thou shalt rule the land in Haman's place. Thy people
+     shall be spared, and letters shall be sent over all the
+     land and into every province which shall state that the
+     Hebrew people shall not be destroyed, but instead they shall
+     be honored and have joy and feasting.
+
+     _Mordecai:_ I thank thee, O King and Esther, my Queen, for
+     the great deliverance and for this great honor to me. May
+     the Lord give me strength to deal wisely with these peoples.
+
+     _Esther:_ This is a great happiness which thou hast bestowed
+     upon me, O King.
+
+
+
+
+CHAPTER VIII
+
+THE DRAMATIZATION OF _ABRAHAM AND THE THREE GUESTS_
+
+
+This incident should be simplified and adapted before it is told to
+children. The dramatization is best worked out in the form of a short,
+free play which involves only one act. It is unnecessary to carry it to
+the point of fixed words and actions. The emphasis should be placed
+upon the customs of the times which are so well brought out in the
+story; for example, the hospitality of Abraham to the strangers
+represents the feeling toward strangers among the nomad peoples, and
+the manner in which he showed his hospitality makes children acquainted
+with customs peculiar to those people. There is excellent opportunity
+here for enriching the children's understanding of the life of a
+shepherd people, of which the Israelites are an example.
+
+Descriptions and pictures of the kind of tent the people lived in are
+necessary. It is important that children should get the idea of the
+correct shape of the Arab tent and not confuse it with the Indian
+wigwam. No stage scenery need be used; it is best to leave that to the
+imagination. A curtain may be put up to represent the front of the
+tent, but nothing more.
+
+There is much of this incident that should be left out in the telling;
+by no means should it be read directly from the Bible to children. The
+story may be told so that the following points are emphasized:
+
+Abraham is sitting at the door of his tent. Three men appear; he runs
+to meet them and bows to the ground. He invites them to rest under the
+shade of the tree and offers to get food and to have their feet washed.
+The strangers sit and talk together, then Abraham comes with the food.
+They all eat and are rested, and as they rise to depart they ask for
+Sarah, Abraham's wife. The strangers tell Sarah and Abraham that they
+are to have a son whose name shall be Isaac and whom God shall bless
+and who shall be the father of many people. Abraham and Sarah are
+greatly astonished and pleased. They fall upon their knees to thank
+God, and when they arise they find that the strangers have departed.
+The scene closes with their exclamation, "Surely these were angels from
+the Lord who have visited us!"
+
+This story was dramatized by the children of the dramatic club after
+they had had experience with many other dramatizations. During the
+first hour after the story was told the children succeeded in getting
+the play into very nearly its final form. Two of the older girls,
+undertaking to write out the scenes as they thought they should be,
+brought in their versions at the second meeting. Each one was read
+aloud, the other children being asked to remember the parts that seemed
+especially good. Then by combining, adding to, or taking from, a
+composite result was obtained. Several children wrote down the final
+decisions at the dictation of the group.
+
+Below is given the version which one child worked out by herself, and
+following that is the final form of the play which the group as a whole
+decided upon. The leader purposely left this play entirely in the hands
+of the children; the product is wholly their own.
+
+
+     THE PLAY EXACTLY AS ONE CHILD WROTE IT
+
+     _Abraham:_ The day is hot and I am weary. I will rest myself
+     from the heat of the day. [_He seats himself in the shade of
+     the tent._]
+
+     _Sarah:_ It is indeed hot, and I will bring thee food and
+     drink that thou mayest refresh thyself. [SARAH _retires into
+     the tent._]
+
+     _Abraham_ [_rises to his feet and shades his eyes with his
+     hands_]: Sarah, come hither! Yonder are strangers who are in
+     need of rest. [SARAH _comes out, and she and_ ABRAHAM _kneel
+     before them._] Welcome, strangers, seat yourselves that ye
+     may rest. My wife, Sarah, will bring you food, and water
+     that you may wash your feet.
+
+     _First Stranger:_ The Lord bless thee, Abraham. [_Sarah_
+     _and the servants withdraw, and_ ABRAHAM _and the three men
+     seat themselves before the tent._ SARAH _returns with water
+     and food. The strangers wash their feet and eat._]
+
+     _Sarah_ [_offering them food_]: Drink thou this fresh milk,
+     and refresh thyself with this fruit, for ye look weary.
+     [_They finish eating and_ SARAH _and the servants retire._]
+
+     _Second Stranger:_ We bring thee good tidings and would
+     speak with thee and thy wife. [SARAH _comes from within the
+     tent._]
+
+     _Third Stranger:_ We are messengers from the Lord to tell
+     thee that thou wilt have a son.
+
+     _First Stranger:_ He will be the father of many men and
+     thousands will respect him. Ye shall name him ISAAC.
+
+     _Sarah:_ That cannot come to pass! For many years I have
+     been childless, and the Lord will not give me a son.
+
+     _Abraham_ [_falling on his knees_]: Thanks be to the Lord! A
+     son at last!
+
+     _Sarah:_ Can it be that these tidings are true? If so, it is
+     indeed a message from the Lord! [_She too falls on her knees
+     before them. The three men quietly leave, and when_ SARAH
+     _and_ ABRAHAM _rise to their feet they are out of sight._]
+
+     _Abraham:_ They were angels from heaven! Our wish has been
+     granted at last!
+
+     END
+
+
+The following is the play as it was finally presented:
+
+
+     ABRAHAM AND THE THREE GUESTS
+
+          PLACE: In front of the tent of Abraham.
+
+          CHARACTERS: Abraham, a Shepherd; Sarah, His Wife; Three
+          Strangers; Four Servants.
+
+          [ABRAHAM _and_ SARAH _come out of the tent._]
+
+     _Abraham:_ The day is hot, and I am weary; I will sit down
+     and rest in the shade of this tree.
+
+     _Sarah:_ Yea, it is hot. I will bring thee drink and food
+     that thou mayest refresh thyself, my good husband.
+
+          [SARAH _goes into the tent._ ABRAHAM _sees three
+          strangers approaching. He stands up, shades his eyes
+          with his hands, and looks out over the desert. He calls
+          to_ SARAH.]
+
+     [Illustration: FIG. 7.--The three guests bless Abraham and
+     Sarah]
+
+     _Abraham:_ Sarah, my wife, come hither! Lo, I see three
+     strangers approaching over the desert.
+
+          [SARAH _comes out of the tent and looks also._]
+
+     SARAH: They will be weary and in need of rest. I will hasten
+     and prepare food and drink for them also.
+
+          [SARAH _goes away._ ABRAHAM _rises to meet the strangers:
+          he falls on the ground before them._]
+
+     _Abraham:_ Welcome, strangers, to the tent of Abraham! If I
+     have found favor in thy sight, pass not away, I pray thee!
+     Let now a little water be fetched and wash your feet, and
+     rest yourselves under the tree; and I will fetch a morsel of
+     bread, and this will strengthen your hearts; after that ye
+     shall pass on.
+
+     _The Three Strangers:_ So do as thou hast said, good
+     Abraham.
+
+          [ABRAHAM _turns to the servants who are standing near._]
+
+     _Abraham:_ Haste ye, bring water; fetch a calf, tender and
+     good. [_Servants hasten away._] [_To the strangers_]: Sarah,
+     my wife, will make ready three measures of fine meal and
+     knead it into cakes.
+
+     _First Stranger:_ Our host, Abraham, is a true servant of
+     the Lord.
+
+     _Second Stranger:_ We are indeed weary; we have journeyed
+     far across the desert.
+
+          [_Servants appear with water and food._ SARAH _also
+          brings food to them._]
+
+     _Sarah:_ Drink thou this fresh milk, and refresh thyself
+     with these dates, for ye look weary.
+
+     _Third Stranger:_ This is indeed a rest.
+
+          [SARAH _goes into the tent and the strangers finish
+          eating. The strangers rise to go._]
+
+     _Abraham:_ Tarry yet awhile with us.
+
+     _First Stranger:_ We thank thee, good Abraham, but we must
+     be on our way.
+
+     _Second Stranger:_ We would speak with thee and thy wife,
+     Sarah. Where is thy wife?
+
+     _Abraham:_ Sarah, come hither.
+
+          [SARAH _appears._]
+
+     _Third Stranger:_ We bring you a message from the Lord. You
+     shall have a son, and his name shall be Isaac. He shall be
+     the father of many men, and thousands shall respect him.
+
+     _Sarah:_ Surely, this cannot come to pass!
+
+     _Abraham:_ Thanks be to God for this great gift!
+
+          [SARAH _and_ ABRAHAM _fall down on their knees before
+          the strangers. The strangers stretch out their hands to
+          bless them._]
+
+     _Three Strangers:_ The Lord will bless you, Sarah and
+     Abraham!
+
+          [_The strangers depart._ ABRAHAM _and_ SARAH _arise._]
+
+     _Abraham and Sarah:_ Surely these were angels from the Lord!
+
+     END
+
+As this play was very short, the suggestion was made that we might
+lengthen the program, as well as make it more interesting, by having
+some of the children tell the audience just how we worked up the
+dramatization. The two older girls undertook this and decided entirely
+by themselves just what they would say. One of them wrote with great
+care a description of the method of procedure. She read it to the club
+for approval, then she learned it by heart and gave it in an
+interesting manner to the audience on the day the play was given. The
+other girl wrote a poem about it, and recited it just before the play
+was given. The description and poem are as follows:
+
+
+     THE INTRODUCTION
+
+     BY MARGARET MILLER
+
+
+     The play which the children are now going to give--_Abraham
+     and the Three Guests_--has been worked out and practiced at
+     the dramatic club. This club meets every Sunday afternoon
+     from three until four o'clock, and is composed of any of the
+     children of the Sunday school who wish to belong.
+
+     The first Sunday Miss Miller told the story to the members,
+     and then they, knowing it, acted it out, making up the parts
+     as they went along. This they did several times until they
+     knew the story perfectly.
+
+     The two oldest girls did not take part in the acting of the
+     play, but became assistants and helped Miss Miller direct
+     it. During the next week the assistants wrote out the
+     speeches very much as the children had made them up. These
+     were read before the club and discussed, and after a number
+     of suggestions had been added by all the children present
+     the scene was finally written as it now is.
+
+     The children each took home a part to learn, and the
+     following Sunday they all tried the different speeches.
+     Before the final characters were chosen each child was able
+     to represent any one of them. The final characters were
+     decided upon by the group and were chosen according to their
+     preferences and their ability to enact the different parts.
+
+     Unfortunately, most of the costumes which the club had on
+     hand were much too small for the children this year. We
+     therefore held a sewing-bee during the week, and lengthened
+     the old ones or made new ones where we found it necessary.
+
+     We have worked on this play for five meetings, which
+     represents altogether five hours, except for a little work
+     that the assistants did outside.
+
+     We have had much fun with this play, and we are hoping that
+     you will enjoy it too.
+
+
+     POEM
+
+     BY MELBA PYLE
+
+     Before you soon you shall see
+     The story of _Abraham and the Strangers Three._
+     The partakers, they have worked;
+     The assistants, they have shirked--
+     But not as much as you would think,
+     For they have helped to join each link.
+     As day by day passed quickly away
+     We read the Bible and wrote the play.
+     Each child helped as best he could,
+     And thus we worked in brotherhood.
+     Word with word we did neatly join,
+     Then home we went, our parts to learn,
+     Next to the box where the costumes lay,
+     And straight to sewing and not to play.
+     And 'tis our happy aim, you see,
+     To make you joyous as can be!
+
+
+
+
+CHAPTER IX
+
+THE DRAMATIZATION OF _DANIEL IN THE LIONS' DEN_
+
+
+The story of _Daniel in the Lions' Den_ was dramatized by the members
+of the club according to the same methods as those which were used in
+connection with the story of _Abraham and the Three Guests._
+
+This play is given here in order to show how a story which deals with a
+miraculous event may be treated. When Daniel was thrust into the den of
+lions, he was in reality put out of the door which opens at the side of
+the stage. The children readily came to the decision that it was
+unnecessary to show Daniel actually in the den of lions on the stage.
+In telling the story no explanation was made or asked for concerning
+the miracle which happened. The children accepted it and enjoyed it as
+they would any other good story.
+
+The final play which follows represents entirely the children's
+interpretation; the product is their own.
+
+
+     DANIEL IN THE LIONS' DEN
+
+
+     SCENE I
+
+          PLACE: The court room of King Darius.
+
+          CHARACTERS: King Darius, Daniel, Four Conspirators,
+          Soldiers, Servants.
+
+          [KING DARIUS _is seated on his throne. Soldiers and
+          attendants stand nearby. The conspirators are talking
+          together at one side._ DANIEL, _followed by two
+          soldiers, comes in and kneels before the_ KING.]
+
+     _Daniel:_ King Darius, live forever!
+
+     _King Darius:_ Good Daniel, I have sent for thee that thou
+     mayest know my will. It has pleased me to set over my
+     kingdom one hundred and twenty princes, and over these
+     princes have I set three rulers. Thou hast been so faithful
+     and true that I wish to make thee the first of these three
+     rulers. Thou shalt have great responsibility, and thou shalt
+     report to me when thou thinkest it well to do so.
+
+     _Daniel:_ Thou art kind and gracious unto me, O King! May
+     the Lord, Jehovah, help me to do this.
+
+     _King Darius:_ Come unto the feast, Daniel, and have the
+     royal robe placed on thee.
+
+          [DANIEL _bows to the_ KING _and they both go out,
+          followed by the soldiers and servants._]
+
+          [_The conspirators are left alone in the room. They
+          show great anger and begin talking to each other._]
+
+     _First Conspirator:_ See how this Daniel has found favor in
+     the King's sight! He is not of our country, he belongs to
+     the Hebrew people; but the King has appointed him over us
+     all! We must destroy this Daniel.
+
+     _Second Conspirator:_ Yea, thou art right. What can we do?
+
+          [_They all walk back and forth in deep thought._]
+
+     _Third Conspirator:_ I can think of nothing against him!
+
+     _Fourth Conspirator:_ Thou sayest the truth; he hath no
+     fault. He is faithful and doth nothing wrong.
+
+     _First Conspirator:_ I can think of nothing, save that we
+     find it against him concerning his God.
+
+     _Fourth Conspirator:_ Ah, that is true; Daniel worshipeth a
+     different God; I have seen him praying thrice in one day.
+
+     _Second Conspirator:_ Let us influence the King to make a
+     firm decree that whosoever shall worship any God or man,
+     save the King, for thirty days, he shall be cast into the
+     den of lions.
+
+     _Third Conspirator:_ That soundeth well! If Daniel be
+     faithful to his God, he will surely disobey this decree; and
+     if the King once signeth it, the law of the Medes and the
+     Persians saith that it cannot be altered.
+
+     _First Conspirator:_ Ah, this will surely be Daniel's ruin
+     now!
+
+     _Fourth Conspirator:_ Come, let us hasten to the King and
+     have him establish and sign this decree. He will be pleased;
+     he will not think of Daniel.
+
+     _Third Conspirator:_ Yea, we will hasten before the setting
+     of the sun.
+
+
+     SCENE II
+
+          PLACE: The same as in scene i.
+
+          CHARACTERS: The same as in scene i.
+
+          TIME: Several days after the events in scene i.
+
+          [_The_ KING _is seated on his throne. The four
+          conspirators come before the_ KING _and kneel._]
+
+     _The Conspirators:_ Great King Darius, live forever!
+
+     _King Darius:_ Arise, my friends!
+
+     _First Conspirator:_ O King, hast thou not signed a decree
+     that he who shall pray to any God or man within thirty days,
+     save to thee, shall be cast into the den of lions?
+
+     _King Darius:_ This thing is true, according to the law of
+     the Medes and Persians, which altereth not.
+
+     _Second Conspirator:_ A man in thy kingdom regardeth not
+     this law, and doth pray to his God three times a day--we
+     have seen him!
+
+     _King_ [_with anger_]: Who is this man that breaketh my
+     laws?
+
+     _First Conspirator:_ He is Daniel, whom thou hast favored
+     and made ruler!
+
+     _King Darius_ [_with surprise and sadness_]: Daniel! It
+     cannot be! Daniel must not die, for I love him.
+
+     _Third Conspirator:_ Thou knowest, O King, that the law of
+     the Medes and Persians is that no decree which the King
+     establisheth may be changed.
+
+     _King_ [_sadly_]: Thou sayest truly; the King's word may not
+     be broken. Bring Daniel hither.
+
+          [_Soldiers go for_ DANIEL. _The_ KING _walks back and
+          forth in great distress._]
+
+     _King_ [_talking to himself_]: Oh, I would that this had not
+     happened!
+
+          [DANIEL _appears and bows before the_ KING.]
+
+     _King:_ Why hast thou disobeyed my law, Daniel? Wherefore
+     didst thou pray to thy God when thou knewest of my decree?
+
+     _Daniel:_ Great King Darius, my God, the God to whom I pray,
+     is the true God, and I shall worship no other. Do with me
+     what thou wilt.
+
+     _King:_ Daniel, I would that thou hadst not done this thing,
+     for I love thee. Thou art a brave and bold man! Thy God whom
+     thou servest continually, he will deliver thee! [_To the
+     soldiers_]: Take this man from me; cast him into the den of
+     lions.
+
+          [_Soldiers take_ DANIEL _and thrust him into the den.
+          The door is closed, and the_ KING _seals it with his
+          signet. The_ KING _and attendants withdraw. The
+          conspirators are alone._]
+
+     _First Conspirator:_ Daniel has fallen at last! No longer
+     will he be the King's favorite!
+
+     _Fourth Conspirator:_ We, instead, will be the favored ones!
+
+          [_They leave the room in high spirits._]
+
+
+     SCENE III
+
+          PLACE: The same as in scene i.
+
+          CHARACTERS: The same as in scene i.
+
+          TIME: The next morning after the events in scene ii.
+
+          [_The_ KING _hastens to the door of the lions' den._]
+
+     _King_ [_calling eagerly_]: O Daniel, servant of the living
+     God, is thy God, whom thou servest continually, able to
+     deliver thee from the lions?
+
+     _Daniel_ [_from within_]: O King, live forever! My God hath
+     sent his angel and hath shut the lions' mouths, and they
+     have not hurt me, for the Lord knoweth that I have done no
+     wrong, either before him or thee, O King!
+
+     _King_ [_to servants who have followed him into the room_]:
+     Come hither, servants! Quickly bring Daniel out that I may
+     see him!
+
+          [_The door is opened, and_ DANIEL _comes out. The_ KING
+          _shows great joy in greeting him._]
+
+     _King:_ Thy God is truly the living God! Bring forth the men
+     that have done Daniel this wrong. Cast them into the lions'
+     den.
+
+          [_The conspirators are standing in the room, looking
+          at_ DANIEL _in astonishment. The soldiers seize them
+          and push them down into the den. As they go they cry
+          to the_ KING.]
+
+     _Conspirators:_ O King, spare us!
+
+     _King:_ I will now sign a decree that in every dominion of
+     my kingdom men shall bow before the God of Daniel, for he is
+     the only true God. He delivereth and rescueth and worketh
+     great wonders; he hath saved Daniel from the power of the
+     lions.
+
+     _Daniel:_ The Lord God will surely bless thee for this good
+     thing!
+
+     END
+
+
+
+
+CHAPTER X
+
+THE DRAMATIZATION OF NEW TESTAMENT PARABLES
+
+
+Many of the New Testament parables present interesting problems for
+dramatization. The selection should be limited to those which involve
+dramatic situations and unity of structure. The simplicity and
+conciseness of words and actions in many of the parables are qualities
+which call forth a ready and free response from children.
+
+Among the parables which have been worked out by the dramatic club are
+_The Good Samaritan_, _The Wise and Foolish Virgins_, _The Great
+Supper_, _The Talents_, _The Prodigal Son._
+
+In the case of these short parables the story was not told first, but
+the parable was read to the children directly from the Bible. There was
+no discussion as to the truths supposed to be taught, the emphasis
+being placed entirely upon the story element involved. The customs of
+the times and the division of the story into scenes were discussed as
+fully as was done with other stories. Usually one or two meetings were
+all that were necessary for working one of these parables into dramatic
+form. When it was completed, the result was not a finished product, as
+the words and action had been interpreted with slight variations each
+time. The children learned the story by heart, as it is given in the
+Bible. This influenced their words when they were dramatizing.
+
+Several parables were given together at the meeting when parents and
+friends were invited. One child recited the Bible version just before
+the play was given. This feature added interest and dignity to the
+occasion.
+
+The parables were given in the following order:
+
+
+     THE WISE AND FOOLISH VIRGINS
+
+          [_Ten virgins with their lamps are waiting for the
+          bridegroom._]
+
+     _First Virgin:_ The bridegroom tarries; let us rest here
+     awhile.
+
+     _Other Virgins:_ Yea, let us rest.
+
+          [_They all sit down and go to sleep._]
+
+     _A Cry Without:_ Behold, the bridegroom cometh! Go ye out to
+     meet him!
+
+          [_All the virgins get up hurriedly. The five wise ones,
+          with oil in their lamps, stand in readiness. The five
+          foolish ones are in great confusion._]
+
+     _First Foolish Virgin:_ We have no oil! Our lamps are gone
+     out!
+
+     _Second Foolish Virgin_ [_speaking to the five wise
+     virgins_]: Give us of your oil--we have none.
+
+     _First Wise Virgin:_ Not so, lest there be not enough for
+     ourselves and for you. But go ye rather to them that sell,
+     and buy for yourselves.
+
+          [_The foolish virgins hasten away._]
+
+     _A Cry Without:_ Behold, the bridegroom cometh! Go ye out to
+     meet him!
+
+          [_The_ BRIDEGROOM _comes in, followed by a few
+          attendants. He walks by, and the five wise virgins
+          follow him. They go in a door which is closed after
+          them. The foolish virgins come hurriedly back and rush
+          to the door. They beat on it and call out several
+          times._]
+
+     _Foolish Virgins:_ Lord, Lord, open unto us!
+
+          [_The door opens and the_ BRIDEGROOM _stands there._]
+
+     _Bridegroom:_ Depart, I know you not!
+
+     END
+
+During the work on this play the question arose as to the kind of lamps
+that were used at the time of the story. The children looked up
+pictures and descriptions, and from these they made themselves lamps
+out of plasticene or clay. Fig. 8 is a photograph of one of the scenes
+taken out of doors. The lamps can be seen, also the simple costumes
+which the children worked out.
+
+
+     THE GREAT SUPPER
+
+          [_The_ MASTER _of the feast stands in his door and
+          speaks to his servant._]
+
+     _The Master:_ Go, bid my friends come to the supper, for all
+     things are now ready!
+
+          [_The servant bows; the_ MASTER _goes into the house.
+          The servant walks down the street, and as he meets
+          people he delivers his_ MASTER'S _message._]
+
+     _Servant_ [_to the men as they come by_]: My Master bids
+     thee come to his feast, for all things are now ready!
+
+     [Illustration: FIG. 8.--The wise and foolish virgins]
+
+     _First Man:_ Say to thy Master that I have bought a piece of
+     land and must needs go and see it. I pray thee have me
+     excused.
+
+          [_The servant bows and the man passes on. The servant
+          delivers the message to the second man._]
+
+     _Second Man:_ I have bought five yoke of oxen; I must go to
+     prove them. I pray thee have me excused.
+
+     _Third Man:_ I have married a wife, and therefore I cannot
+     come.
+
+          [_The servant goes back to his_ MASTER'S _house; the_
+          MASTER _comes out to meet him._]
+
+     _Servant_ [_falls on his knees before his_ MASTER]: O sir, I
+     did as thou commandedst, but one by one they made excuse,
+     and would not come to thy supper. One man had just bought a
+     piece of land and must go to see it; another had bought five
+     yoke of oxen, and was on his way to prove them; and another
+     had just married a wife. All begged that thou excuse them.
+
+     _Master_ [_shows great anger_]: What! They that are bidden
+     refuse to come to my feast! Go out quickly into the streets
+     and lanes of the city, and bring in hither the maimed, and
+     the halt, and the blind!
+
+          [_The_ MASTER _goes into his house, and the servant
+     again walks down the street._]
+
+     _Servant_ [_as he meets the lame, the halt, and the blind_]:
+     Come! My Master invites you to a great supper, which is now
+     prepared at his house!
+
+          [_Each person, or group of persons, bows and thanks him
+          with such remarks as_]--
+
+     _Maimed, Halt, Blind:_ We thank thee; we will be there. We
+     gladly accept this invitation.
+
+          [_The_ MASTER _stands in the door to receive his guests
+          as they come. When they are all in, the servant comes
+          back to his_ MASTER.]
+
+     _Servant:_ Lord, it is done as thou hast commanded, and yet
+     there is room.
+
+     _Master:_ Go out into the highways and hedges, and compel
+     them to come in, that my house may be filled. For I say unto
+     you that none of those men that were bidden shall taste of
+     my supper!
+
+          [_The servant bows_; _the_ MASTER _goes in._]
+
+     END
+
+
+     THE GOOD SAMARITAN
+
+
+     SCENE I
+
+          PLACE: The road from Jerusalem to Jericho.
+
+          CHARACTERS: A Traveler, Thieves, a Priest, a Levite, a
+          Samaritan.
+
+          [_A man comes along the road carrying his bundle over
+          his back. Many thieves rush out from ambush and attack
+          him. Some knock him down and rob him, while others are
+          looking anxiously up and down the road. After beating
+          and cutting the man they go off, thinking that he is
+          dead._
+
+          _As the traveler lies groaning and begging for water, a
+          priest comes along the road, but when he sees the man he
+          passes by on the other side of the road. Also a Levite
+          comes along, and after looking at the man passes by on
+          the other side of the road._
+
+          _Then a Samaritan comes along, and as soon as he hears
+          the groans he hastens over to the man. He kneels down
+          and looks at him and speaks._]
+
+     _Good Samaritan:_ What is this--a man! Hast thou been hurt,
+     my friend?
+
+     _Man:_ Oh, help me! Thieves fell upon me and took all I had,
+     and have left me here to die.
+
+     [Illustration: FIG. 9.--The Good Samaritan]
+
+     _Good Samaritan:_ I will help thee, my good friend; thy
+     wounds shall be bound. Drink this wine. It may help thee.
+     Art thou able to get on this beast of mine? I will take thee
+     to the inn where thou wilt be cared for. [_He helps the man
+     to rise and supports him as he hobbles off. They both go
+     out._]
+
+
+     SCENE II
+
+          PLACE: The Inn.
+
+          CHARACTERS: The Samaritan, the Traveler, the Innkeeper.
+
+          [_The_ GOOD SAMARITAN _brings the man to the door of
+          the inn and knocks. The_ INNKEEPER, _appears._]
+
+     _Innkeeper:_ Good day, sir.
+
+     _Good Samaritan:_ Here is a wounded man. Take care of him.
+     Here is money, and whatsoever thou spendest more, when I
+     come again I will repay thee. [_He gives the_ INNKEEPER
+     _some money. The_ INNKEEPER _takes the man._]
+
+     _Traveler_ [_to_ GOOD SAMARITAN]: God bless you, my friend!
+
+     END
+
+
+     THE PRODIGAL SON
+
+
+     ACT I
+
+          PLACE: In the father's home.
+
+          CHARACTERS: The Younger Brother, the Father, the Elder
+          Brother, Servants.
+
+          [_The_ FATHER _and_ ELDER SON _come into the room
+          together. The_ YOUNGER SON _comes in from another door._]
+
+     _Younger Son:_ Father, give me the portion of goods that
+     falleth unto me. I am weary of living at home. I will go
+     into some far country and make my fortune.
+
+     _Father:_ My son, why is it that thou desirest this? Hast
+     thou not everything at home?
+
+     _Younger Son:_ Yea, father, but I beg of thee to divide thy
+     living between us. I must have my share.
+
+     _Father:_ Thou art very foolish; nevertheless I will do as
+     thou askest. [_To servant_]: Bring my money bags. [_To_
+     ELDER SON]: And dost thou intend to take thy living also,
+     and leave thy father?
+
+     _Elder Son:_ Nay, father, I am fully content to live with
+     thee; I do not want my portion.
+
+          [_Servant returns with money bags._ FATHER _gives money
+          to his younger son._]
+
+     _Father:_ This is thy share--use it wisely.
+
+     _Younger Son:_ I thank thee, father. I shall become a rich
+     man with this; but now I must leave thee; I can stay here no
+     longer.
+
+     _Father:_ This grieves me, my son, for I know that thou art
+     foolish--but go and learn thy lesson.
+
+          [_He stretches out his hands toward his son as if
+          blessing him._]
+
+     ACT II
+
+
+     SCENE I
+
+          PLACE: Along the roadside in a distant country.
+
+          CHARACTERS: The Prodigal Son, a Farmer.
+
+          [_The_ PRODIGAL SON _comes down the road, tired and
+          hungry. He sits on a rock and talks._]
+
+     _Prodigal Son:_ Would that I had something to eat! My money
+     is all spent, and there is famine in the land. What shall I
+     do? I am sick, and feel that I may soon die. If I could but
+     find something to do that I might get a little food.
+
+          [_A man comes along. The_ PRODIGAL SON _goes toward him
+          and falls down before him._]
+
+     _Prodigal Son:_ O sir, I am starving unto death. Wilt thou
+     give me any task to do that I may make enough to keep me
+     alive?
+
+     _Man:_ I have no work to be done--unless it be to take care
+     of my swine. Thou wilt find them in yon field; they need a
+     keeper.
+
+     _Prodigal Son:_ I will gladly do this.
+
+          [_He goes off joyfully._]
+
+
+     SCENE II
+
+          PLACE: In the field with the swine.
+
+          CHARACTER: The Prodigal Son.
+
+          [_The_ PRODIGAL SON _comes in driving the pigs. He sits
+          down._]
+
+     _Prodigal Son:_ How horrible is this life; I am dying of
+     hunger. No man will give me anything--all I get to eat is
+     the food that I give the pigs. Oh, I wish that I had never
+     left home! How many hired servants of my father's have bread
+     enough and to spare, and I perish with hunger! I will arise
+     and go to my father, and will say unto him, "Father, I have
+     sinned against heaven and before thee, and am no more worthy
+     to be called thy son; make me as one of thy hired servants."
+
+          [_He rises and goes away hurriedly._]
+
+
+     ACT III
+
+
+     SCENE I
+
+          PLACE: In front of the father's home.
+
+          CHARACTERS: The Father, the Prodigal Son, the Servants.
+
+          [_The_ FATHER _stands looking for his son._]
+
+     _Father:_ It seemeth to me that I see my son coming home! I
+     knew that he would come! I will go to meet him! [_He meets
+     him._] It is my son! [_The_ FATHER _shows great joy. The_
+     SON _falls on his knees before his father._]
+
+     _Prodigal Son:_ Father, I have sinned against heaven and
+     before thee, and am no more worthy to be called thy son.
+
+     _Father:_ Bring forth the best robe and put it on him; and
+     put a ring on his hand, and shoes on his feet; and bring
+     hither the fatted calf, and kill it, and let us eat and be
+     merry, for this my son was dead and is alive again; he was
+     lost and is found!
+
+
+     SCENE II
+
+          PLACE: In the field, near the father's house.
+
+          CHARACTERS: Elder Son, Servant, the Father.
+
+          [_The_ ELDER SON _is hoeing in the field. A servant
+          comes out. The_ ELDER SON _calls to him._]
+
+     _Elder Son:_ I hear music and dancing in the house; what do
+     these things mean?
+
+     _Servant:_ Thy brother is come; thy father hath killed the
+     fatted calf, because he hath received him safe and sound.
+     Thy father sendeth for thee to come in. [_The_ ELDER BROTHER
+     _shows anger._]
+
+     _Elder Brother:_ I will not go in. Why should he make merry
+     over my brother who has wasted his living?
+
+          [_The_ FATHER _comes out._]
+
+     _Father:_ My son, wilt thou come unto the feast? Thy lost
+     brother hath returned!
+
+     _Elder Son:_ Lo, these many years do I serve thee; neither
+     have I at any time disobeyed thee, yet thou never gavest me
+     a kid that I might make merry with my friends. But as soon
+     as thy son was come, which hath wasted thy living, thou hast
+     killed for him the fatted calf.
+
+     _Father:_ Son, thou art ever with me, and all that I have is
+     thine. It was meet that we should make merry and be glad,
+     for this thy brother was dead and is alive again; he was
+     lost and is found. Come thou in to greet thy brother!
+
+          [_They both go in._]
+
+     END
+
+
+
+
+CHAPTER XI
+
+THE DRAMATIC QUALITIES IN A GOOD STORY
+
+
+The stories in the Bible, if taken just as they are given, present a
+body of material which is complicated by a historical background and a
+religious symbolism that is remote from the young child's experience.
+They embody the historical incidents as well as the myths and folklore
+of ancient Hebrew life, and for the most part they express the highest
+idealism of the Hebrew people. There is no reason, however, why good
+stories and appropriate incidents may not be given to children from
+this body of material through selecting from and simplifying the
+biblical version. A great deal of what is in the Bible should not be
+used, but there is much that is highly dramatic and becomes valuable
+for dramatization.
+
+It is possible to adapt an incident by simplifying, and in a measure
+reorganizing, the parts, and yet to keep the dignity and integrity of
+the story as it is given in the Bible. The attitude of the children,
+created by contact with this type of story, should be one of reverence
+and dignity, coupled with a consciousness of the high ideals of the
+people they are impersonating.
+
+Before any attempt is made to select parts of the Bible narrative for
+dramatization the leader, or director of the children, should have well
+in mind standards which will help in making the part that is chosen a
+well-organized story. When any good story is analyzed it is found to be
+built upon an underlying basic structure. There is always a beginning
+or setting; a middle part, where the incidents rise to a climax; and an
+end, where the events of the story are satisfactorily worked out. There
+should be a feeling of movement straight through the story; the
+incidents should develop; there should be action that leads to some
+end. A unity must underlie the whole story--there must be no part which
+is not essential to the working out of the plan. The end of the story
+should give a sense of completeness, of satisfaction.
+
+It is often the case that the three essential parts of the story call
+for three acts when the story is dramatized. In some of our modern
+dramas five acts, but in many only three acts, are required in order to
+complete the structure. Sometimes, however, all three parts of a story
+may be given in a one-act dramatization. Before a story is dramatized
+it is very necessary that it be told so clearly that the children are
+conscious of these parts; otherwise the resulting drama will lack in
+organization. No matter how elaborate or simple the story, the children
+should have a feeling for the basic structure, which should guide the
+form of the dramatization.
+
+The leader in charge of a dramatic club in which Bible stories are used
+must take the responsibility of changing the Bible version so as to
+make an organic unit of the story and yet keep the spirit and big
+meaning. There are many parts of the Bible narrative which already
+embody this simple organization--or division into related elements--if
+all of the heavy, unnecessary incidents are omitted.[1]
+
+Although the main purpose of these dramatizations is not that an
+artistic result be secured, yet that is an important factor, and should
+be recognized by both the leader and the children. The product many
+times will be necessarily crude and lacking in the aesthetic element,
+but nevertheless there should be an attempt, even though gradually, to
+train the children toward a recognition and an appreciation of the
+artistic qualities of the literary production they put forth, as well
+as of the stage groupings and effects.
+
+Care must be taken that the stories chosen are ethically sound. The
+story of Jacob is one that may well be omitted. Jacob deceives, and yet
+all the good things in life come to him--he takes them away from those
+who rightfully have earned them. This injustice in the story always
+raises a question in the minds of the children, and for this reason it
+is not a good story. The stories of Samson, Jephthah, Jael, and others
+on this order should be eliminated for similar reasons. They are each
+based upon attitudes toward society and standards of friendship which
+are now outgrown. There are so many simple episodes in the Bible that
+can easily be readjusted into well-constructed stories, about which
+there can be no question of the moral value, that no time need be
+wasted in considering any story about which there is the least
+suggestion of an unethical quality when judged by our present-day
+standards.
+
+FOOTNOTES:
+
+[Footnote 1: As a matter of fact, it is often the later editorial
+additions to the simple old stories that have produced the cumbrous
+effect. When the original story is recovered, it lends itself much
+better to the purpose here discussed. Such a reorganization of the
+stories with a preservation of the biblical language has been made in
+Soares' _Heroes of Israel_ (The University of Chicago Press), where
+also there is much illustrative material interpretative of the
+situations.]
+
+
+
+
+CHAPTER XII
+
+BIBLE STORIES SUITABLE FOR DRAMATIZATION
+
+
+The stories which have been taken for dramatization in the previous
+chapters were not chosen because they are the best ones for that
+purpose, but because they represent different kinds of stories and
+illustrate the opportunity for various methods of presentation. There
+are many other stories and incidents in the Bible which are equal to,
+or better than, those described.
+
+A list of some of these stories is given below, together with a few of
+the most essential points which should be considered in dramatizing
+each. No attempt is made to give the story in full or to elaborate the
+dramatization; the plan for each is merely suggestive.
+
+
+I. SAMUEL
+
+I SAMUEL, CHAPTERS 2 AND 3
+
+The story of Samuel may be worked into a short play of one or two
+scenes. The most interesting and dramatic incident is the familiar one
+of the Voice Calling Samuel at Night. The first part of the story,
+however, is beautiful, and may be used along with this incident.
+
+In scene i Hannah brings little Samuel to the temple and dedicates him
+to the Lord. Eli, the old priest, takes the child to live with him in
+the temple so that he may train him to serve the Lord.
+
+Scene ii takes place several years later. It is night time, and the
+child Samuel is sleeping near the old priest, Eli. He thinks he hears a
+voice calling him, and he runs to Eli to ask what he wants. Eli has not
+called him and tells him to lie down again. Three times he runs to Eli,
+thinking that he hears him calling. Then the priest tells him that it
+must be the Lord who has spoken and tells Samuel what to say the next
+time he is called. Samuel hears the message from the Lord and, upon
+Eli's request, tells him what he has heard. Eli realizes that the Lord
+has spoken truly, and accepts his fate as just. He praises Samuel and
+tells him that he will soon leave the care of the temple and of the
+people of Israel to him.
+
+Neither in this play, nor in any other play, should there be an attempt
+to represent the Lord's voice. The child may listen as if he were
+hearing someone speaking, and from what he says and does the audience
+will be aware of what is happening. For the sake of the result, from an
+artistic point of view, such parts as this should always be left to the
+imagination, no attempt being made to interpret them literally.
+
+
+2. THE QUEEN OF SHEBA'S VISIT TO SOLOMON
+
+I KINGS, CHAPTER 10
+
+The visit of the Queen of Sheba to Solomon furnishes a unit of work for
+a short one-act dramatization. There is no plot or complicated
+situation involved and there is very little activity suggested. The
+attention of the children may well be directed, however, to the
+description of Solomon's court and of the rich gifts which were
+exchanged. This is an excellent opportunity to have the children do
+construction work. They should make many things which will help to give
+the impression of richness to the court. They may also make their own
+costumes richer by adding jewels and bright-colored sashes and
+headdresses.
+
+This little dramatization will include many children. A number will be
+needed to come in with the Queen of Sheba, and there should be many
+attendants upon King Solomon. The conversation will be for the most
+part between Solomon and the Queen, heralds and servants making
+announcements.
+
+The play opens with the Queen of Sheba's arrival at the court of
+Solomon. Messengers announce her to the King. Solomon talks with the
+Queen and she tells him that she admires his great wisdom and his
+wealth. Then Solomon commands that the feast be served, and while they
+eat the Queen presents her gifts to Solomon. When the Queen takes her
+leave Solomon gives her wonderful presents. The play will end with the
+exit of the Queen and her attendants.
+
+Unless the children put much thought upon the stage setting and the
+conversation, this incident may prove uninteresting. It has, however,
+great possibilities for the working out of a beautiful picture.
+
+
+3. JOSHUA AND THE GIBEONITES
+
+JOSHUA, CHAPTER 9
+
+The story of Joshua and the Gibeonites is so simply told in the Bible
+that children of nine or ten years of age can read it as it is given
+and dramatize it directly from that version.
+
+The dramatization of this narrative calls for many characters. The
+older children may take the parts of Joshua and the leaders of the
+Gibeonites, while the younger ones are needed for Israelite soldiers
+and citizens of Gibeon. All the characters in the play will need to do
+much acting even though they do not enter into the conversation.
+
+Although the dramatization should be a product of the children's work,
+yet the leader should have well in mind the three main divisions of the
+story that she may guide the children by her questions. This story may
+be worked into one of the more elaborate productions. The Bible
+language should Be used and the result should be full of dignity and
+spirit. For detail in the method of presentation compare that employed
+in the story of Joseph (chapter iii).
+
+The story may be given so that the following divisions or scenes are
+emphasized:
+
+     SCENE I
+
+          PLACE: At Gibeon. Street scene.
+
+     The inhabitants are discussing the victories of the
+     Israelites. They are afraid of Joshua, the leader.
+     Messengers report that he is advancing toward Gibeon. The
+     Gibeonites plan to make a league with him so that he will
+     not destroy their city. They decide to deceive Joshua by
+     dressing as strangers from a far country, wearing old
+     garments and taking moldy bread and wine.
+
+     SCENE II
+
+          PLACE: Joshua's tent at the camp of Gilgal.
+
+     The men from Gibeon come to Joshua and tell him that they
+     are from a far country. They say that they have heard of his
+     great victories and wish to make a league with him. The
+     conversation between Joshua and these strangers is
+     interestingly given in the Bible and may be quoted almost
+     exactly. Joshua makes the treaty with them.
+
+     SCENE III
+
+          PLACE: At Gibeon.
+
+     The Israelite soldiers rush into Gibeon to take it, but find
+     that the inhabitants are the same ragged strangers with whom
+     they made the league. The Israelites reproach them, but
+     cannot go back on their word, so spare their lives. In
+     order to punish the Gibeonites for their deception, Joshua
+     makes them slaves of the Israelites.
+
+There is much opportunity for construction work in the dramatizing of
+this story. Costumes, pieces of armor, and weapons may be made in a
+simple manner by the children.
+
+
+4. ISAAC AND REBEKAH
+
+GENESIS, CHAPTER 24
+
+The story of Isaac and Rebekah is unusually valuable for dramatization.
+It involves a well-worked-out plot which is beautifully and simply told
+in the Bible, and which brings the children in contact with many
+interesting customs among the shepherd people. The story needs little
+changing; it may be given almost as it is written.
+
+The following outline for the divisions of the story is merely
+suggestive:
+
+     ACT I
+
+     SCENE I
+
+          PLACE: Abraham's tent in Canaan.
+
+     Abraham is lying down in his tent. He is talking to Isaac,
+     his son, about the wife he wishes him to have. He calls a
+     servant and bids him go to Mesopotamia, his old home, and
+     bring a wife for Isaac from his own kinsfolk. Abraham makes
+     the servant swear that he will do as he has been told.
+     Perhaps Abraham has his hand on Isaac while he is talking,
+     and Isaac will take some small part in the conversation.
+
+
+     ACT II
+
+     SCENE I
+
+          PLACE: Mesopotamia.
+
+     The messenger, with his servants, comes to the well just
+     outside of the city walls, where the women draw water. There
+     should be no attempt to represent the camels. These may be
+     indicated by the conversation and left to the imagination.
+     The messenger, through praying to God, decides how he shall
+     know which young woman to choose for Isaac. When Rebekah
+     comes with her pitcher she offers to give water to him and
+     to his camels also. The man is sure then that Rebekah is
+     sent by God, and therefore he arranges to go to her father's
+     house for the night.
+
+This scene should be made very picturesque as well as interesting. The
+children may look up pictures of the wells of those times and then
+construct something that will serve the purpose. Pieces of pottery may
+be brought in on the shoulders of the women to represent water jugs.
+(Compare with the street scene described in the story of Ruth, chapter
+vi.)
+
+
+     SCENE II
+
+          PLACE: Rebekah's home.
+
+     In this scene comes the discussion of Rebekah's leaving home
+     to become the wife of Isaac. The messenger makes known to
+     the family that it is Abraham, their kinsman, who is sending
+     for Rebekah. He gives Rebekah the gifts which his master has
+     sent--earrings, bracelets, and the like. The family finally
+     decide that Rebekah may go back to Canaan, but they ask the
+     servant to let her stay with them for ten days longer. He
+     is unwilling to wait, and the question is therefore put to
+     Rebekah. She answers that she will go with him now.
+
+
+     ACT III
+
+     SCENE I
+
+          PLACE: Canaan. A field near Isaac's home.
+
+     Isaac walks alone in the field at sunset. He is constantly
+     looking into the distance, and he is wondering when the
+     messenger will return with a wife for him. At length he sees
+     the camels approaching and hastens to meet them. This is all
+     indicated by his soliloquy--no camels must be shown. The
+     servant and Rebekah have dismounted and come to meet Isaac.
+     The servant gives Rebekah to Isaac who embraces her and
+     shows his joy at receiving such a beautiful wife. The play
+     should end where Isaac turns toward his father's tent with
+     Rebekah.
+
+While the children are playing this story there should be much detailed
+discussion which will give them an adequate background for
+understanding the customs upon which the story is based; and there
+should be shown many illustrations which will insure correct mental
+pictures.
+
+
+5. ELIJAH AND THE WIDOW'S MEAL
+
+I KINGS, CHAPTER 17
+
+This may be used as a very simple incident of two scenes, or it may be
+elaborated into a longer play.
+
+The first scene is placed by the gate of the city of Zarephath. As
+Elijah comes toward the gate he asks a woman, who is gathering sticks,
+for a drink of water. She gives him the water and he asks for bread.
+The conversation between them brings out the facts that there is famine
+in the land, and that the widow has hardly enough meal left in the
+house to make bread for herself and for her son. She agrees to divide
+with Elijah, however, and takes him into her house. The wording for
+this scene may be taken almost directly as it is given in the Bible.
+
+The second scene is placed in the house of the widow. The woman and her
+son are eating with Elijah. From what they say to each other it is
+apparent that the meal and oil have lasted for many days, and the three
+people have had plenty to eat during the famine. The widow is convinced
+that a miracle has been wrought by her guest. She begs him to tell her
+who he is. The stranger answers that he is Elijah, the prophet of the
+Lord, and that it is through the Lord's care of them that they have had
+food enough. The play may well end here with the final speech from the
+widow as it is given in the Bible: "Now by this I know that thou art a
+man of God, and that the word of the Lord in thy mouth is truth."
+
+In case the part of the story which gives the raising of the widow's
+son is used, a third scene may be added, and the widow's speech would
+come at the end of that scene.
+
+
+6. ELISHA AND THE SHUNAMMITE
+
+II KINGS, CHAPTER 4
+
+This incident is similar to the story of Elijah and the widow's meal,
+and may be dealt with in the same manner. It should be simplified by
+selecting certain parts for dramatization. The emphasis throughout
+falls upon the generous qualities of the two characters--Elisha, ever
+ready to help others, and the woman, who always kept a room for the
+prophet because she admired his goodness.
+
+
+7. DANIEL INTERPRETS THE KING'S DREAM
+
+DANIEL, CHAPTERS 1 AND 2
+
+The stories about Daniel have unusually interesting possibilities for
+dramatization. They need very little explanation. They are so vividly
+and beautifully told in the Bible that the children will understand
+them readily and have no difficulty in interpreting them. A few
+historical facts may be given to make the setting clear. The following
+divisions are suggested for the first story:
+
+     SCENE I
+
+     King Nebuchadnezzar brings four Israelites into his court in
+     order to have them trained as councilors. He appoints them a
+     daily provision of the king's meat and wine.
+
+
+     SCENE II
+
+     The King dreams a dream and forgets it. He calls all of his
+     wise men and demands that they tell him what his dream was
+     and also interpret it. The wise men declare that this is an
+     impossibility and refuse to obey. Nebuchadnezzar is furious
+     and orders that they all be put to death.
+
+     Daniel then comes before the King and asks that the King
+     give him time that he may interpret the dream. The King
+     grants this.
+
+
+     SCENE III
+
+     Daniel appears before the King again. The King asks if he is
+     able to tell what the dream was and to interpret it. Daniel
+     answers that he is able to tell him, not, however, by his
+     own power, but by the power of God in heaven who revealeth
+     secrets. Then Daniel gives in detail the dream and tells
+     King Nebuchadnezzar the meaning thereof. The King is so
+     affected that he falls on his face and worships Daniel. He
+     recognizes the God of Daniel, and commands that Daniel be
+     made governor of Babylon. At Daniel's request he also makes
+     the three other Israelites rulers of certain provinces.
+
+This story may be treated in the same manner as the story of Joseph
+(chapter iii).
+
+
+8. SHADRACH, MESHACH, AND ABED-NEGO IN THE BURNING FIERY FURNACE
+
+DANIEL, CHAPTER 3
+
+This story may be read to children directly from the Bible. After they
+have worked it over several times the final product will include three
+scenes of the following character:
+
+     SCENE I
+
+     The heralds come through the streets crying aloud that King
+     Nebuchadnezzar commands all people to bow down when they
+     shall hear the musical instruments and worship the image of
+     gold which he has set up. Those who do not obey will be put
+     into a burning fiery furnace. The instruments of music sound
+     and all the people fall to the ground to worship except the
+     three Israelites, Shadrach, Meshach, and Abed-nego. Some of
+     the men notice that the Jews do not obey, and go off
+     immediately to tell the King.
+
+
+     SCENE II
+
+     The men come before the King and begin their story by
+     saying, "O King, live forever!" The Bible language may be
+     used directly here in the conversation which follows. The
+     King is very angry at what these men tell him. He orders
+     that the three Jews be brought before him. They are brought
+     in and the King tells them that they will have to be put
+     into the fiery furnace if they do not obey. The Jews are not
+     afraid and reply that their God will take care of them. The
+     King then orders them to be bound and to be taken out to the
+     furnace, which has been heated seven times hotter than
+     usual. Men come running back to the King to tell him that
+     the servants which thrust the Jews into the furnace were
+     burnt up by the heat, but that the Jews were not harmed.
+     Another man runs in and tells the King that a fourth person
+     is in the furnace, and that he resembles the Son of God.
+     Nebuchadnezzar commands that the three men be brought out
+     from the furnace. They come before him, with no mark of the
+     fire on them. The King is so greatly impressed that he makes
+     a decree that no one shall speak against the God of
+     Shadrach, Meshach, and Abed-nego. He then appoints these
+     three men to positions of greater trust than ever before.
+
+
+9. BELSHAZZAR AND THE HANDWRITING ON THE WALL
+
+DANIEL, CHAPTER 5
+
+This story, like the others from Daniel, is so dramatically told in the
+Bible that it may be taken almost exactly as it is given. It should be
+worked into a one-act play. Much attention should be given to the
+setting, and the children may make many things which will give some
+idea of the richness of the banquet hall.
+
+The play opens with the feast of Belshazzar. The people are making
+merry in the midst of all the pomp and luxury of the court. Suddenly
+the handwriting appears on the wall. The King and the people see it and
+are terrified. The children should not attempt to show the handwriting,
+but from the words and actions of the King and the people the audience
+must be made aware of what is happening. None of the wise men present
+is able to interpret the handwriting. The Queen comes before the King
+and begs that he send for Daniel, the Jew. Daniel is brought in, and
+after a little thought gives the interpretation. The scene should end
+with the recognition of Daniel's power. The scarlet robe is placed on
+him and the golden chain is put around his neck, and the King
+proclaims that Daniel shall be the third ruler in the land.
+
+
+10. THE STORY OF JOB
+
+THE BOOK OF JOB
+
+The most majestic piece of literature in the Bible, and one of the
+world's masterpieces, is the Book of Job. The Prologue and Epilogue are
+in the prose epic style, which characterizes the best narrative
+portions of the Bible. The main part of the book is actually dramatic
+in form, and the deep problem of human suffering is discussed in the
+loftiest poetic language. The theme is so profound and the imagery so
+elevated that it is quite beyond the ability of small children.
+High-school students might well present the drama. Many of the speeches
+may be abbreviated, while the Prologue can easily be dramatized. Job
+has been so presented with great success by children of high-school age
+at All Souls' Church, Chicago. It may be noted that the voice of the
+Lord was given in an elevated monotone by a person unseen.
+
+
+11. THE PROPHETS
+
+For the older children many of the Prophets make interesting characters
+for dramatization. The great value of a study of the Prophets lies in
+their appeal as beautiful pieces of literature and expressions of the
+deepest spiritual feeling, rather than in the dramatic situations
+presented. If a study is made of the life of the Prophets, and of the
+times in which they lived, ample material will be discovered which may
+serve as a background for the dramatization of these characters. This
+material is not entirely available from the Bible, but should be
+reinforced by outside references, such as _The Prophets of Israel_ by
+C. H. Cornill, _The Modern Reader's Bible_ by R. G. Moulton, _The
+Hebrew Prophets_ by Chamberlin.
+
+The prophet Amos may be taken as an example of what can be done with
+this material. The Children of Israel are celebrating their autumn
+festival with great joy and abandon. As the mirth is at its highest an
+unknown man makes his way through the crowd. He silences the festivity
+by chanting his dirgelike reproof to the merrymakers. The astonishment
+of the people at this sensational interruption is great. The high
+priest hurries toward him and demands an explanation for this unusual
+disturbance. He orders Amos to cease speaking and to go back to the
+hills and mind his sheep. Amos answers that he is sent by the Lord to
+reprove the people of Israel, and he continues to intone his
+lamentations. The most beautiful and vivid selections for use in
+dramatization are found in chapters 8 and 9. While the final beautiful
+words of the prophecy are regarded as an editorial appendix, there can
+be no impropriety in using them as a dramatic climax. The people may
+then be represented as subdued in spirit, accepting the upbraiding as
+being the word of God.
+
+Isaiah, Jeremiah, and other Prophets may be worked out in like manner.
+The result in each case, however, should insure the utmost dignity and
+beauty; otherwise the dramatization should never be attempted.
+
+The many Prophets with their various messages suggest the possibility
+of their use in a pageant. This form of dramatization may be given to
+advantage by a group of children as a climax to their detailed study of
+the Prophets.
+
+       *       *       *       *       *
+
+From each of the following subjects several dramatizations may be
+taken. They suggest many short one-act plays, and also some excellent
+long ones.
+
+     Saul Chosen and Anointed King of Israel. I Sam., chaps. 9
+     and 10.
+
+     Samuel Anoints David. I Sam., chap. 16.
+
+     David and Jonathan. I Sam., chaps. 18-20.
+
+     David Spares Saul's Life. I Sam., chap. 24.
+
+     Moses Begs Pharaoh to Allow the Children of Israel to Leave
+     Egypt. Exod., chaps. 5-13.
+
+It may be well to state, in connection with the selection of stories
+from the Bible for dramatization, that other stories outside of the
+Bible may be dramatized by these same methods and will accomplish the
+same results. It is not best to allow children to dramatize in
+succession too many of the heavier type of stories, such as the Bible
+stories represent. They may become tired if they work too long at the
+same kind of dramatization. Children need stories which will lighten
+and relieve the extreme seriousness and dignity which they necessarily
+have to express in playing the Bible stories. There is a host of fairy
+tales, folk-tales, and historical incidents that may well be adapted
+for this purpose.
+
+_The Children's Educational Theatre_, by Alice Minnie Herts, describes
+dramatic work with children older than those who made the plays in this
+book. It is an interesting experiment in education which uses
+dramatization as a means for accomplishing certain aims.
+
+
+
+
+CHAPTER XIII
+
+STAGE SETTING AND PROPERTIES
+
+
+The point has been emphasized in the preceding chapters that very
+little stage setting and only a few properties are used in connection
+with these dramatizations. It is always best that as much as possible
+should be left to the imagination, and that only such setting and
+properties be used as the children themselves can construct and as are
+needed to produce the atmosphere of the play. This point of view
+influences any consideration of these matters.
+
+It is frequently true that, after the children have made the articles
+they find a need for, the results are very crude, and there is yet much
+opportunity for free play of the imagination. Great benefit is derived,
+however, through the construction of these objects. The children gain a
+clearer understanding and a keener appreciation of them after they have
+had the experience of trying to express the shape or form through some
+medium, such as clay-modeling, paper-cutting, drawing.
+
+Care should be taken that children make nothing in the nature of stage
+scenery, such as trees, grass, bulrushes, and other bits of landscape.
+The only stage setting which seems at all necessary for them to make
+involves very simple designs which show the characteristic
+ornamentation of the times, for example, the lotus and papyrus designs
+in Pharaoh's court.
+
+Drawings and descriptions of a few of the most essential stage
+properties and settings are given below, with suggestions as to where
+and how each may be used.
+
+_Water jugs and dishes._--In the earlier stages of Hebrew history--as
+is found to be the case with all primitive shepherd people--skins and
+wooden bowls were used for holding water, milk, and food. Clay vessels
+were probably not in general use during the nomadic period. When
+dramatizing the stories of Abraham and Isaac, and others of that
+period, this fact should be taken into account, and only vessels of
+wood and skin should be used.
+
+Most of the clay utensils, which are mentioned in the stories of a
+later time, were shaped like those shown in Fig. 10. Many of the water
+jugs had small handles, though some were without handles. Fig. 11 shows
+the position in which a Hebrew woman usually carried her water jug.
+
+The Hebrews had little interest in the aesthetic except in the realm of
+literature, and the lack is very evident in their pottery. The water
+jugs are far from having the beauty of line and proportion which is
+found in Greek pottery. Whenever any of these vessels are needed for
+use in a dramatization, it is well to have the children bring jars and
+bowls from home which conform as nearly as possible to the shapes here
+given. Earthenware bowls and jars may be used effectively.
+
+[Illustration: FIG. 10.--WATER JUGS, DRINKING BOTTLE, MILK JUG,
+COOKING POT, DISH, WATER JUG]
+
+_Wells._--The importance of wells in the life of the early Hebrews
+cannot be overemphasized. The scarcity of water in the desert made the
+digging of wells a necessity for the survival of people and of flocks.
+As much of the land was rocky, wells could be dug only at certain
+places. These favorable places were the means of determining where the
+tents were to be pitched. In most of the stories of the nomadic life
+wells play a conspicuous part.
+
+[Illustration: FIG. 11.--WOMAN CARRYING WATER JUG]
+
+Children should have correct mental pictures of those ancient wells, so
+that they do not confuse them with the modern wells. The wells of
+Palestine usually had low stone walls around them, and often big flat
+stones for covers. The rocks were piled high enough to keep animals
+from falling in. In some of the wells the water was so low in the
+ground that people had to go down steps on the inside in order to get
+it. In other wells the vessels were let down by means of ropes. The
+women of the land were always required to draw and carry the water.
+
+The simplest way for children to represent a well on the stage is by
+piling up rocks to resemble the outside or by using something that will
+look like a great stone. Fig. 12 shows two kinds of wells in Palestine.
+
+[Illustration: FIG. 12.--ANCIENT WELLS IN PALESTINE]
+
+_Staff and rod._--The shepherd boy always had with him a rod and a
+staff (Fig. 13). The rod was about two and a half feet long and was
+used for protection. The thick knob at the end was cut out of the tree
+from which the limb came, and was frequently covered with knots or
+nails to make it more terrible as a weapon. The children may find
+pieces of wood which will serve the purpose, or if they live near a
+forest they may make their own rods.
+
+The staff was usually about five feet long. The shepherd used it to
+help him climb hills and mountains and also to keep the sheep from
+straying. Some staffs were nothing more than the straight limbs of
+trees; others had a fork or crook at the end so that they could more
+easily catch into the wool of the sheep when they needed guiding.
+Children may use long sticks or branches from trees when they represent
+staffs.
+
+[Illustration: FIG. 13.--SPEARS, SWORDS, STAFF, ROD, ARROWS, BOW]
+
+_Sling._--The sling which was used in David's time was frequently woven
+of rushes, hair, or sinews; sometimes it was made from soft leather.
+From Fig. 14 it will be seen that the shape of the woven part is wider
+in the middle and comes to a point at the end. A string was tied to
+each end and the stone was placed in the wide part. The sling was
+whirled around over the head, and as one string was let loose the stone
+flew out. When the sling is used in a dramatization, the stone may be
+left to the imagination.
+
+[Illustration: FIG. 14.--A SHEPHERD'S SLING, A SIMPLE LOOM--MADE FROM
+CARDBOARD]
+
+Children take great pleasure in trying to weave this sling. A diagram
+of a simple cardboard loom is given in Fig. 14. The shape should be
+drawn on the cardboard, then holes made for the thread which strings up
+the loom. Coarse woolen yarn may be used for the weaving.
+
+_Shepherd bag._--The shepherd bag which was used by David was carried
+by every shepherd boy along with the staff, rod, and sling. It was
+made from a piece of skin with a cord at each end. The cords were
+fastened to the girdle so that the skin formed a kind of bag. Pebbles
+for the sling were carried in it, and often supplies of food. A piece
+of leather or of brown cloth may be easily made into one of these bags
+for the children to use.
+
+_Sickles._--Sickles were of two kinds--those made of metal and those
+made of wood. The wooden ones were toothed with sharp pieces of flint.
+Fig. 15 gives the characteristic shapes.
+
+[Illustration: FIG. 15.--SICKLES]
+
+Children may represent these sickles by cutting the shapes from stiff
+cardboard and coloring them some dark color to make them look as if
+they were wood or metal. Some of the boys may be interested in cutting
+sickles directly out of wood.
+
+_Scepter._--The scepter was used by kings in the later history of the
+Hebrews. It was nothing more than a development of the rod used in the
+shepherd period. As a rod it was a means of protection and power over
+enemies, and as a scepter it was a symbol of the same power. Scepters
+were sometimes short, with much ornamentation; others were long,
+probably five feet in length. They were all characterized by a ball at
+the end, and in many cases the kings had them made from gold, or
+richly ornamented with gold. The Persian kings used the long scepter,
+which therefore is the kind most appropriate for the play of Esther
+(see Fig. 16).
+
+_Tents._--The ancient Hebrew tent was much like the modern Bedouin
+tent. It was low and spread out over the ground, and was made of black
+goat's hair cloth. This cloth was usually stretched over nine poles,
+arranged in rows of three and from six to seven feet in height. The
+inside of the tent was divided into two parts by a long curtain which
+hung across the middle.
+
+[Illustration: FIG. 16.--SCEPTER]
+
+A tent may be represented on the stage by placing a big thick cloth (a
+blanket or canvas or dark curtain) over poles or screens.
+
+_Shields._--There were two kinds of shields found among the Hebrews.
+One was very large and covered a man from head to foot; it was usually
+carried by a shield-bearer. The other was small and was sometimes
+called a buckler. Many different shapes were found in both kinds of
+shields; some were like the Egyptian--long, broad, and straight at the
+bottom; others were round and oblong. All shields were convex with
+handles on the inside to hold them by. The kings had shields covered
+with gold, or decorated with gold and precious stones; but the common
+soldier had a shield of wood or stiff leather. Leather formed the basis
+of the shields that were decorated. Fig. 17 will show drawings of some
+of the typical shapes. Children can easily make shields out of
+cardboard; some may be covered with gold paper or with dark-brown
+paper. A handle may be glued or sewed in the inside so that the shield
+may be held without trouble.
+
+[Illustration: FIG. 17.--SHIELDS, FRONT AND SIDE VIEWS]
+
+_Swords._--The sword was always hung from the left side of the
+sword-belt. It was made from bronze or iron, and was about seventeen
+inches long. Fig. 13 shows some of the usual shapes. Many swords were
+two-edged and had leather sheaths in which they were carried. Children
+may make these out of stiff cardboard, or out of thin wood. They should
+be colored a dark color, and the hilts may be decorated with bright
+colors to represent jewels.
+
+[Illustration: FIG. 18.--TRUMPETS]
+
+_Spears._--Spears averaged about five feet in length. The javelin was a
+long, heavy spear used for casting; the lance was a lighter spear used
+for defense. All spears had a shaft of wood and a metal or stone point.
+Fig. 13 gives several of the characteristic shapes of spear-points.
+Spears may be made by fastening cardboard points to long sticks, or by
+cutting the point directly out of the wood.
+
+_Bows and arrows._--The bows and arrows of the Hebrews were very much
+like those of all other primitive peoples. The bows were often four or
+five feet long and the arrows were pointed with sharp flint or metal.
+Illustrations of the shapes are found in Fig. 13. Children need little
+direction in the making of these weapons, a string and some pliable
+wood being all that is necessary.
+
+_Trumpets._--Fig. 18 illustrates the kinds of trumpets used. The small
+ram's-horn trumpet was associated with the feasts and other public
+celebrations, while the long metal horn was used for the most part by
+the priests. These metal trumpets were frequently made from hammered
+silver. Children can make them out of stiff paper or thin cardboard and
+cover them with silver paper.
+
+[Illustration: FIG. 19.--SIGNET RING]
+
+[Illustration: FIG. 20.--LAMP]
+
+_Signet ring._--A signet ring is something that the kings were never
+without. In the earlier times it was worn on a chain which hung from
+the neck; later it was worn on the finger. Fig. 19 gives a drawing of a
+signet ring. The design was raised so that it left an imprint. The king
+used this imprint as his royal signature instead of signing his name.
+When a signet ring is needed in a dramatization, as is the case in
+_Daniel in the Lions' Den_, any large ring may be used, or the
+children may be interested in making a ring from paper or cardboard.
+
+_Lamps._--Fig. 20 shows one of the simpler types of lamps used at the
+time of Christ. This was probably the kind referred to in the parable
+of the Wise and Foolish Virgins. The lamps were terra cotta and held a
+very little oil. Children will be interested in making these lamps out
+of clay or plasticene. They are almost in the shape of a shallow bowl
+with a handle.
+
+[Illustration: FIG. 21.--EGYPTIAN DESIGN]
+
+_Egyptian design._--In the scenes placed in Pharaoh's court a few
+decorations suggestive of the Egyptian will add interest. Fig. 21 gives
+some of the simpler designs which the children may use for
+ornamentation. The servants may carry the large fan-shaped designs,
+which they make on stiff paper. These designs were made from the lotus
+and the papyrus plants; the leaves were usually a blue-green, and red,
+blue, yellow, white, and black were used in many designs. Fig. 21 shows
+some of these designs that were made by the children and used in
+representing Pharaoh's court.
+
+[Illustration: FIG. 22.--HELMETS, CROWNS, ASSYRIAN, EGYPTIAN, EGYPTIAN]
+
+As it may be of interest to those who have access to a library to know
+where more definite and detailed information may be secured concerning
+the articles that are but briefly described here, the following works
+are recommended: The _New Schaff-Herzog Encyclopedia of Religious
+Knowledge_; Hastings' _Dictionary of the Bible_; the _Jewish
+Encyclopedia_; Kitto, _Cyclopedia of Biblical Literature_; three books
+by W. M. Thomson--_Central Palestine and Phoenicia_, _Southern
+Palestine and Jerusalem_, _Lebanon, Damascus, and beyond Jordan_;
+Elmendorf, _A Camera Crusade through the Holy Land._
+
+
+
+
+CHAPTER XIV
+
+COSTUMING
+
+
+The question of costuming may be dealt with in much the same manner as
+that of stage setting and properties. Costumes are unnecessary in many
+of the simpler plays, and even where they are used they should be so
+treated that they are of minor importance in the minds of the children.
+It is nearly always the case that the very smallest suggestion of a
+costume--a sash or a cloth around the head--is satisfying and
+sufficient to produce the proper atmosphere of the play. There is
+danger of placing so much emphasis upon this phase of the work that the
+children attach undue importance to it and thus lose the real spirit of
+the dramatization.
+
+If costumes are used they should not be saved for the final
+performance, but the children should have the pleasure of wearing them
+at each practice where they are actually living over and over the lives
+of other people. Children should get their ideas of the dress of the
+times from pictures and descriptions and then in very simple ways try
+to represent what they have observed. The simplicity of the costumes
+among the Hebrew people makes the problem comparatively simple.
+
+[Illustration: FIG. 23.--A group of children, showing costumes and a
+trumpet]
+
+There is very little definite knowledge about the exact costume of the
+ancient Israelites, for they have left no records. The only sources of
+information on the subject are the few references to dress in the Old
+Testament and the few Jewish figures found among the Egyptian,
+Assyro-Babylonian, and Persian carvings. The conclusion has been
+reached, however, that the ancient Hebrew costume was in general
+similar to that of the modern Arab.
+
+It is fairly certain that among the earliest tribes a simple slip or
+short tunic, with close-fitting sleeves, was worn. Later a big loose
+mantle was usually thrown over this slip. The little under-garment was
+white, woven from wool, or sometimes made out of skins; the outer
+garment was frequently striped, a bright color with white. Among the
+old patriarchs the outside cloak reached to the ground. It was often in
+the shape of a blanket, and was draped by throwing one end over the
+left shoulder, then passing it across the front of the body and under
+the right arm, then across the back, and to the left shoulder again.
+
+At a still later period there was the long gown, which reached to the
+ankles and was belted in at the waist by a girdle. This was sometimes
+covered by an outside robe which was like a cape. Frequently these
+garments were brought over the heads in order to protect their wearers
+from the sun.
+
+As a rule the servants and lower class of people wore only the one
+garment--a short tunic, with or without a girdle. The richer men wore
+the outside cloaks. Kings and nobles had many kinds of cloaks which
+were very elaborately decorated. They had silk girdles, while the
+poorer men wore leather girdles. See Figs. 23-27 for costumes made by
+the children.
+
+[Illustration: FIG. 24.--The costume of Abraham]
+
+The women's dress was very much the same as that worn by the men. All
+garments may have been a little longer, but the draping and the kinds
+of garments were the same. Great ladies had beautiful veils and shawls.
+
+[Illustration: FIG. 25.--Two kinds of costumes--the Rich Shepherd and
+the Servant.]
+
+Both men and women wore sandals. The soles were made of leather or
+thick woven cords. They were fastened to the feet by means of strings
+of leather, linen, or of papyrus. Two straps were usually attached to
+the back of the sandal, then crossing from the back over the instep
+they were tied to a third strap which was fastened at the front and
+came between the great and second toe. Fig. 26 shows sandals which were
+made by the children.
+
+[Illustration: FIG. 26.--Costumes, showing sandals made by the
+children]
+
+The headdress in the earlier days was nothing more than a piece of
+square cloth, folded diagonally and placed over the head with the long
+point at the back; the two ends were then crossed under the chin and
+thrown back over the shoulders. A cord was tied around the head to keep
+the cloth on. Later a kind of turban was worn which had no loose ends,
+but which projected over the face enough to protect one from the sun.
+Figs. 23-25 give examples of different kinds of headdress made by the
+children.
+
+[Illustration: FIG. 27.--Costumes]
+
+The crowns which the kings wore were frequently of gold, studded with
+jewels, although the Persian king had a stiff cap of felt or cloth,
+encircled by a blue and white band. Fig. 22 gives a few of the typical
+shapes for crowns.
+
+The helmets which were worn by the soldiers were varied. The shapes
+employed by the Assyrians and the Egyptians were probably used among
+the Hebrews. See Fig. 22 for drawings of some of the best-known
+helmets. Children may make these easily by using cardboard and gilt
+paper.
+
+The Hebrew men and women had many personal ornaments, such as
+necklaces, armlets, bracelets, rings. Children delight in making all
+kinds of bracelets and chains from gold and silver paper. They may
+bring all the bright-colored beads that they can get for the enrichment
+of the costume.
+
+
+
+
+CHAPTER XV
+
+THE ORGANIZATION OF A CHURCH DRAMATIC CLUB
+
+
+The kind of dramatics described in this book may be undertaken with
+success in connection with any Sunday school. The most necessary
+element is a leader in charge who is wide awake to the aims and
+purposes of such work and who has the ability to deal with little
+children. A trained teacher is preferable.
+
+This dramatization can be most effectively presented to children
+between the ages of six and thirteen. In case the Sunday school is very
+large and more children join than can be easily managed by one leader,
+it would be best to divide the members into two or three smaller
+groups, each with a competent leader in charge. One person should be
+able to handle well from twenty to twenty-five children.[2]
+
+This training ought not to stop with younger children, but may well be
+carried on with pupils of high-school age. This would involve problems
+slightly different from those here presented, but on the whole the
+same aims may be achieved.
+
+It is sometimes the case that a few of the children outgrow the club.
+They begin to realize that they are much larger than the others, and
+they decide that they do not care to take part in the acting, yet they
+are still interested enough to come to the meetings. If there is no
+other dramatic club into which they may go, then they may be used as
+assistants in the younger club and made to feel that they are a
+necessary part of it. There are many ways in which they can be of
+valuable help to the leader, at the same time experiencing a
+development through the training.
+
+During one year in the history of the dramatic club here described
+three girls of fourteen came regularly to the meetings. They could not
+be persuaded to take part in the dramatizations, but they expressed an
+eagerness to help in the direction. They entered into the discussion
+and criticism of the plays that were being acted each Sunday, and their
+suggestions were always very much to the point. They had the ability of
+explaining what they meant to the children so that it was easily
+understood. These girls would write out the scenes, sometimes while the
+children were actually giving them; or, again, they would write them at
+home and bring them for discussion at the next meeting. They took
+entire charge of the costuming, and would meet outside at sewing-bees,
+where they mended, pieced, or made over the costumes on hand. Then at
+the plays they always took the responsibility of dressing the little
+children, putting on their headdresses, tying their sashes, and seeing
+that their costumes were draped in the right way.
+
+When a dramatic club is first started, it is advisable to dignify the
+organization by electing a president and secretary from among the
+children. The president may take charge of the meetings and then turn
+them over to the director, and may help in many ways to keep the club
+together. The secretary may call the roll and be responsible for
+sending notices to the members. Children always delight in this amount
+of formality, and through it each one becomes a much more vital part of
+the group; the responsibility as far as possible is placed upon the
+children, and they usually rise to meet it.
+
+It is hardly practical in most cases to attempt to hold more than one
+meeting a week. The time should be set according to the convenience of
+the majority of the members. Sunday afternoon was found to be the best
+time for this little club to meet, but any week day will do as well.
+Occasionally, just before a play is to be given, a few call meetings
+may be necessary.
+
+It is desirable that the club own the simple costumes which the members
+wear. A costume box is a convenient place for keeping them. The same
+garments may be used over and over again, and should be kept where they
+may be easily obtained at each meeting. The older girls in the group
+will be glad to take charge of the costume box, and they should see
+that all of the garments are kept in order. The supply of costumes will
+grow, for children will be constantly bringing new things to add to it.
+
+There are various methods of getting a number of costumes on hand. The
+children may bring from home old sheets and bright-colored shawls and
+ribbons, which may be used to advantage. Often the Sunday school will
+appropriate a small sum in order to help buy materials. A very small
+amount of money need be spent, for the costumes must be extremely
+simple and they should be planned and made by the children.
+
+The construction work which the children do in connection with the
+dramatization is an important part in the working out of a play. As
+already noted, the greatest value of it lies in the fact that it
+represents the efforts of the children. There is hardly time at one of
+the regular meetings to have the construction work done. A discussion
+of the articles needed may be necessary, after which the children
+should be encouraged to make them at home. The older ones are able to
+look up pictures and descriptions which will help, while the younger
+ones need to have the matter frequently talked over in order to give
+them the correct mental pictures of what they are to make. It is always
+surprising to see how readily children take hold of this kind of work.
+They bring in very many interesting things which they have made--often
+things which they have thought out for themselves and which they had
+not been asked to make. There are times when all the members are
+working on the same problem, such as lamps for the Wise and Foolish
+Virgins. It may be best under these circumstances to have a meeting
+outside where they all work together. (Descriptions of these
+constructed articles may be found in a previous chapter.)
+
+A word of warning may be in place at this point. Parents of the
+children are usually anxious and eager to help in making costumes and
+the constructed objects. The very best aid that they can give is to see
+that the children have the opportunity for making these things
+themselves; they may encourage and guide wisely, but the finished
+product must be the child's, not the mother's. Some mothers have
+thought that they were doing the right thing to have a carpenter make
+the spears and other weapons for the soldier. The boy derives more
+benefit if he looks around for some sticks which will serve his
+purpose, no matter how crude they may be.
+
+The order in which plays are given in this book should not be taken as
+the proper sequence for a dramatic club. The story of _Joseph_ is
+described in detail first because the method used there may be followed
+with any of the shorter or longer stories. This particular story,
+however, should not be the first one presented to children who have
+never had such work before. Such stories as _David and Goliath_,
+_Abraham and the Three Guests_, or any of the parables should come
+first. _Joseph_, _Ruth_, and _Esther_ are well worked out by children
+after they have had a little experience with dramatization.
+
+As a final summary, let it be ever kept in mind that this dramatization
+functions as a factor in religious education only when the highest
+development of the children is the aim. It should be so conducted that
+it forms an essential part of the religious training of the Sunday
+school, and also one of the valuable activities of the church.
+
+FOOTNOTES:
+
+[Footnote 2: In church schools which are organizing on the most
+approved methods of the correlation of all educational activities the
+dramatic club may be a regular part of the junior department, similar
+clubs being integral parts of the other departments.]
+
+
+
+
+INDEX
+
+
+
+
+INDEX
+
+
+Aaron, 55
+
+_Abraham_, the dramatization of, 84-92, 118
+
+Ahasuerus, king of Media and Persia, 70-83
+
+Aims of dramatization, 5, 9-10
+
+Amos, the prophet, 127
+
+Angels, 85, 90
+
+Armor and weapons, 50, 138-140, 151
+
+
+Bag, shepherd, 136
+
+Banquet, Queen Esther's, 69, 80
+
+Belshazzar, 125
+
+Boaz, 64-66
+
+Bow and arrow, 140
+
+
+Cardboard, use of, 45, 60, 151
+
+Citizens of Bethlehem, 65
+
+Clay, use of, 100, 131, 142
+
+Cloak, outer garment, 146
+
+Conspirators, 94-97
+
+Construction work, 45, 60, 130-143
+
+Costumes, 45;
+  the making of, 144-151;
+  the method of obtaining, 155
+
+Crowns, 150
+
+
+_Daniel_, the dramatization of, 93-97, 122, 125
+
+Darius, 93-95
+
+_David_, 44;
+  the dramatization of, 46-51, 128
+
+Design, Egyptian, 142
+
+Diagram of loom, 45, 136
+
+Dishes, 131
+
+
+Education, religious, 6-8, 157
+
+Elijah, 120-121
+
+Elisha, 122
+
+_Esther_, the dramatization of, 68-83
+
+
+Feast, 80, 115-116
+
+Fiery furnace, 123-124
+
+
+Gibeonites, 116-117
+
+Girdle, 146
+
+Gleaners, 63
+
+Goliath, 44, 48, 51
+
+
+Haman, 71-74
+
+Harvest, 59, 61
+
+Headdress, 69, 144, 150
+
+Helmet, 143, 151
+
+
+Innkeeper, 105
+
+Isaac, 118-120
+
+Isaiah, 128
+
+
+Jacob, 18, 112
+
+Jael, 112
+
+Jephthah, 112
+
+Jeremiah, 128
+
+Jericho, 103
+
+Jerusalem, 103
+
+Job, 126
+
+Jonathan, 128
+
+_Joseph_, the story of, 17-25;
+  the dramatization of, 34-43
+
+Joshua, 116
+
+
+Lamps, 99-100, 142
+
+Lions, den of, 93, 96-97
+
+Loom, 45, 136
+
+
+Method of presenting dramatization, formal, 9;
+  informal, 10-16
+
+Miriam, 55
+
+Moab, the land of, 63
+
+Mordecai, 72-74
+
+_Moses_, the dramatization of, 52-56, 128
+
+
+Naomi, 62-63, 66-67
+
+Nebuchadnezzar, 122-123
+
+
+Organization, of dramatic club, 7, 8, 152-157;
+  of stories, 110-111
+
+Ornaments, personal, 151
+
+
+Papyrus, 142, 149
+
+Parables, the dramatization of, 98-108
+
+Performance, public, 14, 33, 90
+
+Pharaoh, 21, 39, 54, 57-58
+
+Pharaoh's daughter, 55-58
+
+Pictures, the use of, 45, 84
+
+Plasticene, 100, 142
+
+President of the club, 154
+
+_Prodigal Son, The_, dramatization of, 105-108
+
+Prophets, the, 126-127
+
+
+Queen of Sheba, 115-116
+
+
+Reapers, 63-64
+
+Rebekah, 118-120
+
+Ring, signet, 141
+
+_Ruth_, the dramatization of, 59-67
+
+
+_Samaritan, The Good_, the dramatization of, 103-104
+
+Samson, 112
+
+Samuel, 113-114, 128
+
+Sandals, 62, 148-149
+
+Sarah, 85
+
+Saul, 48, 128
+
+Scepter, 69, 78, 137
+
+Secretary of the club, 154
+
+Servant, 100, 108
+
+Shepherd customs, 84
+
+Shield, 45, 138
+
+Sickles, 60, 137
+
+Sling, 45, 51, 135-136
+
+Soldier, 49, 96
+
+Solomon, 115-116
+
+Spears, 45, 140
+
+Staff, 45, 134
+
+Stage setting, 84, 130
+
+Supper, The Great, 100
+
+Swords, 45, 139
+
+
+Tents, 84, 138
+
+Trumpets, 141
+
+Tunic, 146-147
+
+Turban, 150
+
+
+_Virgins, The Wise and Foolish_, the dramatization of, 99-100
+
+
+Water jugs, 131-132
+
+Wells, 133
+
+PRINTED IN THE U.S.A.
+
+
+
+
+PRINCIPLES AND METHODS OF RELIGIOUS EDUCATION
+
+_Edited by_ W. C. BOWER, EDWIN E. AUBREY, and W. C. GRAHAM
+
+
+_A Survey of Religious Education in the Local Church._ By William C.
+Bower.
+
+_The Junior: Life-Situations of Children Nine to Eleven Years of Age._
+(Revised edition, 1932.) By Ernest J. Chave.
+
+_Out of Doors with Youth._ By J. W. F. Davies.
+
+_The Sunday-School Building and Its Equipment._ By Herbert F. Evans.
+
+_Recreation and the Church._ By Herbert W. Gates.
+
+_Character Building through Recreation._ By Kenneth L. Heaton.
+
+_Graded Social Service for the Sunday School._ By William N. Hutchins.
+
+_A Summer Program for the Church School._ By Miles H. Krumbine.
+
+_World-Friendship through the Church School._ By John Leslie Lobingier.
+
+_Projects in World-Friendship._ By John Leslie Lobingier.
+
+_The Dramatization of Bible Stories._ By Elizabeth Erwin Miller
+(Elizabeth Miller Lobingier).
+
+_Dramatization in the Church School._ By Elizabeth Erwin Miller
+(Elizabeth Miller Lobingier).
+
+_Far Peoples._ By Grace D. Phillips.
+
+_Church School Projects._ By Erwin L. Shaver.
+
+_The Project Principle in Religious Education._ By Erwin L. Shaver.
+
+_A Project Curriculum for Young People._ By Erwin L. Shaver.
+
+_Handwork in Religious Education._ By Addie Grace Wardle.
+
+
+THE UNIVERSITY OF CHICAGO PRESS
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Made minor punctuation and formatting changes, e.g., indentations.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dramatization of Bible Stories, by
+Elizabeth Erwin Miller Lobingier
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