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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:11:43 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:11:43 -0700 |
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diff --git a/39022-h/39022-h.htm b/39022-h/39022-h.htm new file mode 100644 index 0000000..53fef1f --- /dev/null +++ b/39022-h/39022-h.htm @@ -0,0 +1,6544 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Dramatization of Bible Stories, by Elizabeth Erwin Miller Lobingier. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3,h4,h5 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +p.title { text-align: center; text-indent: 0; + font-weight: bold; + line-height: 1.4; margin-bottom: 3em; } + +.author {text-align: right; + margin-right: 5%; + font-variant: small-caps;} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +hr.tb {width: 45%;} +hr.chap {width: 65%} +hr.r5 {width: 5%; margin-top: 1em; margin-bottom: 1em;} + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} + +.blockquot { + margin-left: 5%; + margin-right: 10%; +} + +.center {text-align: center;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold;} + +.figcenter { + margin: auto; + text-align: center; +} + +.figleft { + float: left; + clear: left; + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; +} + +.figright { + float: right; + clear: right; + margin-left: 1em; + margin-bottom: + 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; +} + +.footnotes {border: dashed 1px;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +.poem { + margin-left:10%; + margin-right:10%; + text-align: left; +} + +.poem br {display: none;} + +.poem .stanza {margin: 1em 0em 1em 0em;} + +.poem span.i0 { + display: block; + margin-left: 0em; + padding-left: 3em; + text-indent: -3em; +} + +.transnote {background-color: #E6E6FA; + color: black; + font-size:smaller; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; } + + </style> + </head> +<body> + + +<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 & 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"> </td><td align="left"> </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"> </td><td align="right"> </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—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—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—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—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—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—Pharaoh's court" title="Fig. 1—Pharaoh's court"/> +<span class="caption"><span class="smcap">Fig. 1.</span>—Pharaoh'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—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.</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—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.</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.—A scene from David and Goliath" title="Fig. 2.—A scene from David and Goliath"/> +<span class="caption"><span class="smcap">Fig. 2.</span>—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"> </td><td align="left">Scene 2. A Hebrew mother hides her child among the bulrushes.</td></tr> +<tr><td align="left"> </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—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!</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—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.—Esther and Mordecai" title="Fig. 3.—Esther and Mordecai"/> +<span class="caption"><span class="smcap">Fig. 3.</span>—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—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.—Esther dances before the king" title="Fig. 4.—Esther dances before the king"/> +<span class="caption"><span class="smcap">Fig. 4.</span>—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—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—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—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—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.—The king holds out the scepter to Esther" title="Fig. 5.—The king holds out the scepter to Esther"/> +<span class="caption"><span class="smcap">Fig. 5.</span>—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—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—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.—Queen Esther pleads for her people" title="Fig. 6.—Queen Esther pleads for her people"/> +<span class="caption"><span class="smcap">Fig. 6.</span>—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.—The three guests bless Abraham and Sarah" title="Fig. 7.—The three guests bless Abraham and Sarah"/> +<span class="caption"><span class="smcap">Fig. 7.</span>—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—<i>Abraham +and the Three Guests</i>—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—<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—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—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.—The wise and foolish virgins" title="Fig. 8.—The wise and foolish virgins"/> +<span class="caption"><span class="smcap">Fig. 8.</span>—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>]—</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—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.—The Good Samaritan" title="Fig. 9.—The Good Samaritan"/> +<span class="caption"><span class="smcap">Fig. 9.</span>—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—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—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—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—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—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—or division into related elements—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—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—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—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—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>—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.</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.—WATER JUGS, +DRINKING BOTTLE, COOKING POT, MILK JUG, DISH, WATER JUG" title="Fig. 10.—WATER JUGS, +DRINKING BOTTLE, COOKING POT, MILK JUG, DISH, WATER JUG"/> +<span class="caption"><span class="smcap">Fig. 10.</span>—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>—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.—WOMAN CARRYING WATER JUG" title="Fig. 11.—WOMAN CARRYING WATER JUG" /> +<span class="caption"><span class="smcap">Fig. 11</span>.—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.—ANCIENT WELLS IN PALESTINE" title="Fig. 12.—ANCIENT WELLS IN PALESTINE" /> +<span class="caption"><span class="smcap">Fig. 12.</span>—ANCIENT WELLS IN PALESTINE</span> +</div> + +<p><i>Staff and rod.</i>—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.—SPEARS, SWORDS, STAFF, +ROD, ARROWS, BOW" title="Fig. 13.—SPEARS, SWORDS, STAFF, +ROD, ARROWS, BOW"/> +<span class="caption"><span class="smcap">Fig. 13.—</span>SPEARS, SWORDS, STAFF,<br /> +ROD, ARROWS, BOW</span> +</div> + +<p><i>Sling.</i>—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.—A SHEPHERD'S SLING, +A SIMPLE LOOM—MADE FROM CARDBOARD" title="Fig. 14.—A SHEPHERD'S SLING, +A SIMPLE LOOM—MADE FROM CARDBOARD"/> +<span class="caption"><span class="smcap">Fig. 14.</span>—A SHEPHERD'S SLING<br /> +A SIMPLE LOOM—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>—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>—Sickles were of +two kinds—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.—SICKLES" title="Fig. 15.—SICKLES" /> +<span class="caption"><span class="smcap">Fig. 15.</span>—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>—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>—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.—SCEPTER" title="Fig. 16.—SCEPTER"/> +<span class="caption"><span class="smcap">Fig. 16.</span>—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>—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<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.—SHIELDS, +FRONT AND SIDE VIEWS" title="Fig. 17.—SHIELDS, +FRONT AND SIDE VIEWS"/> +<span class="caption"><span class="smcap">Fig. 17.</span>—SHIELDS<br /> +FRONT AND SIDE VIEWS</span> +</div> + +<p><i>Swords.</i>—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.—TRUMPETS" title="Fig. 18.—TRUMPETS"/> +<span class="caption"><span class="smcap">Fig. 18.</span>—TRUMPETS</span> +</div> + +<p><i>Spears.</i>—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>—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>—<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.—SIGNET RING" title="Fig. 19.—SIGNET RING" /> +<span class="caption"><span class="smcap">Fig. 19.</span>—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.—LAMP" title="Fig. 20.—LAMP" /> +<span class="caption"><span class="smcap">Fig. 20.</span>—LAMP</span> +</div> + +<p><i>Signet ring.</i>—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>—<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.—EGYPTIAN DESIGN" title="Fig. 21.—EGYPTIAN DESIGN"/> +<span class="caption"><span class="smcap">Fig. 21.</span>—EGYPTIAN DESIGN</span> +</div> + +<p><i>Egyptian design.</i>—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.—HELMETS, CROWNS, +ASSYRIAN, EGYPTIAN, EGYPTIAN" title="Fig. 22.—HELMETS, CROWNS, +ASSYRIAN, EGYPTIAN, EGYPTIAN"/> +<span class="caption"><span class="smcap">Fig. 22.</span>—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—<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—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.</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.—A group of children, showing costumes and a trumpet" title="Fig. 23.—A group of children, showing costumes and a trumpet"/> +<span class="caption"><span class="smcap">Fig. 23.</span>—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—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.—The costume of Abraham" title="Fig. 24.—The costume of Abraham"/> +<span class="caption"><span class="smcap">Fig. 24.</span>—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.—Two kinds of costumes—the Rich Shepherd and +the Servant." title="Fig. 25.—Two kinds of costumes—the Rich Shepherd and +the Servant."/> +<span class="caption"><span class="smcap">Fig. 25.</span>—Two kinds of costumes—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.—Costumes, showing sandals made by the children" title="Fig. 26.—Costumes, showing sandals made by the children"/> +<span class="caption"><span class="smcap">Fig. 26.</span>—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.—Costumes" title="Fig. 27.—Costumes"/> +<span class="caption"><span class="smcap">Fig. 27.</span>—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—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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DRAMATIZATION OF BIBLE STORIES *** + +***** This file should be named 39022-h.htm or 39022-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/0/2/39022/ + +Produced by Curtis Weyant, Diane Monico, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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