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diff --git a/39022-8.txt b/39022-8.txt new file mode 100644 index 0000000..09a00c5 --- /dev/null +++ b/39022-8.txt @@ -0,0 +1,5568 @@ +The Project Gutenberg EBook of The Dramatization of Bible Stories, by +Elizabeth Erwin Miller Lobingier + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Dramatization of Bible Stories + An experiment in the religious education of children + +Author: Elizabeth Erwin Miller Lobingier + +Release Date: March 1, 2012 [EBook #39022] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMATIZATION OF BIBLE STORIES *** + + + + +Produced by Curtis Weyant, Diane Monico, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + + +THE DRAMATIZATION OF BIBLE STORIES + + + + +THE UNIVERSITY OF CHICAGO PRESS +CHICAGO, ILLINOIS + +THE BAKER & TAYLOR COMPANY +NEW YORK + +THE CAMBRIDGE UNIVERSITY PRESS +LONDON + +THE MARUZEN-KABUSHIKI-KAISHA +TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI + +[Illustration: A SHEPHERD] + + + + +THE DRAMATIZATION +OF BIBLE STORIES + +AN EXPERIMENT IN THE RELIGIOUS +EDUCATION OF CHILDREN + +_By_ + +ELIZABETH ERWIN MILLER + +(_Elizabeth Miller Lobingier_) + +[Illustration] + +THE UNIVERSITY OF CHICAGO PRESS +CHICAGO, ILLINOIS + + + + +COPYRIGHT 1918 BY THE UNIVERSITY OF CHICAGO +ALL RIGHTS RESERVED. PUBLISHED APRIL 1918 +SIXTEENTH IMPRESSION OCTOBER 1934 + +COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO PRESS +CHICAGO, ILLINOIS, U.S.A. + + + + +TO MY LITTLE FRIENDS, THE CHILDREN IN THE +DRAMATIC CLUB OF THE HYDE PARK CHURCH OF DISCIPLES, +THIS BOOK IS LOVINGLY DEDICATED + + + + +GENERAL PREFACE + + +The progress in religious education in the last few years has been +highly encouraging. The subject has attained something of a status as a +scientific study, and significant investigative and experimental work +has been done. More than that, trained men and women in increasing +numbers have been devoting themselves to the endeavor to work out in +churches and Sunday schools the practical problems of organization and +method. + +It would seem that the time has come to present to the large body of +workers in the field of religious education some of the results of the +studies and practice of those who have attained a measure of +educational success. With this end in view the present series of books +on "Principles and Methods of Religious Education" has been undertaken. + +It is intended that these books, while thoroughly scientific in +character, shall be at the same time popular in presentation, so that +they may be available to Sunday-school and church workers everywhere. +The endeavor is definitely made to take into account the small school +with meager equipment, as well as to hold before the larger schools the +ideals of equipment and training. + +The series is planned to meet as far as possible all the problems that +arise in the conduct of the educational work of the church. While the +Sunday school, therefore, is considered as the basal organization for +this purpose, the wider educational work of the pastor himself and that +of the various other church organizations receive due consideration as +parts of a unified system of education in morals and religion. + + THE EDITORS + + + + +CONTENTS + + + PAGE + +LIST OF ILLUSTRATIONS xiii + +INTRODUCTION BY EDWARD SCRIBNER AMES 1 + +CHAPTER + +I. EDUCATIONAL AIMS IN DRAMATIZATION 5 + +II. THE METHOD OF DRAMATIZATION 9 + +III. THE DRAMATIZATION OF "JOSEPH" 17 + +IV. THE DRAMATIZATION OF "DAVID AND GOLIATH" 44 + + V. THE DRAMATIZATION OF "MOSES IN THE BULRUSHES" 52 + +VI. THE DRAMATIZATION OF "RUTH" 59 + +VII. THE DRAMATIZATION OF "QUEEN ESTHER" 68 + +VIII. THE DRAMATIZATION OF "ABRAHAM AND THE THREE GUESTS" 84 + +IX. THE DRAMATIZATION OF "DANIEL IN THE LIONS' DEN" 93 + +X. THE DRAMATIZATION OF NEW TESTAMENT PARABLES 98 + +XI. THE DRAMATIC QUALITIES IN A GOOD STORY 109 + +XII. BIBLE STORIES SUITABLE FOR DRAMATIZATION 113 + +XIII. STAGE SETTING AND PROPERTIES 130 + +XIV. COSTUMING 144 + +XV. THE ORGANIZATION OF A CHURCH DRAMATIC CLUB 152 + +INDEX 161 + + + + +LIST OF ILLUSTRATIONS + + +A SHEPHERD Frontispiece + +FIGURE PAGE + +1. PHARAOH'S COURT 42 + +2. A SCENE FROM DAVID AND GOLIATH 47 + +3. ESTHER AND MORDECAI 73 + +4. ESTHER DANCES BEFORE THE KING 75 + +5. THE KING HOLDS OUT THE SCEPTER TO ESTHER 79 + +6. QUEEN ESTHER PLEADS FOR HER PEOPLE 81 + +7. THE THREE GUESTS BLESS ABRAHAM AND SARAH 88 + +8. THE WISE AND FOOLISH VIRGINS 101 + +9. THE GOOD SAMARITAN 104 + +10. WATER JUGS AND OTHER CLAY UTENSILS 132 + +11. WOMAN CARRYING WATER JUG 133 + +12. ANCIENT WELLS IN PALESTINE 134 + +13. ANCIENT WEAPONS 135 + +14. A SHEPHERD'S SLING AND LOOM FOR WEAVING SLING 136 + +15. SICKLES 137 + +16. SCEPTER 138 + +17. SHIELDS 139 + +18. TRUMPETS 140 + +19. SIGNET RING 141 + +20. LAMP 141 + +21. EGYPTIAN DESIGNS 142 + +22. HELMETS AND CROWNS 143 + +23. A GROUP OF CHILDREN, SHOWING COSTUMES AND A TRUMPET 145 + +24. THE COSTUME OF ABRAHAM 147 + +25. TWO KINDS OF COSTUMES--THE RICH SHEPHERD AND THE SERVANT 148 + +26. COSTUMES SHOWING SANDALS MADE BY THE CHILDREN 149 + +27. COSTUMES 150 + + + + +INTRODUCTION + +BY EDWARD SCRIBNER AMES + + +This book is its own best commendation, for it is a most convincing +record of an important experiment in education. It is the more +interesting because it is a real contribution to educational method +from the field of religious education, which too often only +appropriates and imitates what has been achieved elsewhere. + +This experiment is founded upon the powerful dramatic impulse of +children and upon the educative value of the natural expression of that +impulse under the mutual self-criticism of the participating group. The +function of the leader has been that of an unobtrusive member of the +group contributing such suggestions from a wider experience and deeper +insight as would naturally elicit and guide that criticism. That this +fine art of teaching has been realized with unusual skill in this +experiment will be apparent to the discerning readers of this record, +as it has been by those who have watched the progress of the work +itself. + +Too much emphasis cannot be given to the fact that the primary aim of +this use of dramatization is the education of the children and not the +entertainment of spectators, although, when such dramatization is +rightly estimated, nothing could be more genuinely entertaining. Those +who are expecting to find here ready-made plays for children, with +directions for staging them, will be properly disappointed, while those +who are seeking illustrations of vital methods of education through the +cultivation and use of the dramatic impulse will be amply rewarded. + +The latter will appreciate the frank portrayal of the early and cruder +efforts of the children and their own critical reactions due to further +reflection and experimentation. These will understand something of the +ability and patience that Miss Miller has employed in allowing the +native impulse to develop naturally and to mature through the reactions +of the children themselves. They will realize that the little people +actually formulated the scenes and the lines of the dramas even if it +required many weeks in some cases to do so; that it is better for the +actors to make their own costumes and stage properties, however simple +they may be; that it is more educative for each child to be familiar +with all of the parts, and thus with the drama as a whole, than to be +coached ever so cleverly to impersonate a single character; and that +facility and power in dramatization are thus attained which are +permanent sources of pleasure and understanding. + +It need scarcely be added that the biblical stories are exceptionally +well suited to such use and that when so employed they yield their +profound religious quality directly in deep and lasting impressions. +The children who have been so fortunate as to belong to this dramatic +club not only "know" these stories, but they have lived them in an +intimate and durable experience. + + + + +CHAPTER I + +EDUCATIONAL AIMS IN DRAMATIZATION + + +Dramatization is not commonly recognized as a means of vitalizing the +religious education of children. The public school has found it to be +one of the most effective methods for enriching the pupil's ideas of +given units of subject-matter and for leading to the establishment of +permanent interests and of habitual modes of action. + +The use of dramatization in the school in order to accomplish these +ends finds its justification in certain fundamental principles of +teaching. Subject-matter is so presented that the important ideas stand +out clearly. These ideas are mastered by utilizing them in some form of +activity which leads to self-expression on the part of the children. +Judgments are formed and conclusions are reached when children enter +actively into a situation which presents a problem; ideas become their +own through experience. Through dramatization children give expression +to these ideas in the light of their own interpretation. The +formulation of standards, the placing of values, and the realization of +truths and ideals follow as direct results of actively entering into +the life-experience of others. + +From a psychological point of view ideas and ideals, whether religious +or secular, are developed according to the same general laws. +Furthermore, the principles of teaching which are effective in the +daily classroom must be equally significant in religious training. It +follows, therefore, that dramatization and other forms of +self-expression are as valuable in attaining the aims of the Sunday +school as they are in teaching the curriculum of the day school. +Through dramatizing a Bible story children come into a comprehension of +the life-experiences of a highly religious people; they are forming +their own standards and ideals through meeting and solving the simple +life-problems of the Hebrews. Each child has as great an opportunity +for self-expression through dramatizing a Bible story as that afforded +through dramatizing any other story. He not only develops his +individuality, but through this kind of work he must necessarily come +into the realization of his place within the group, as is the case in +all well-directed dramatization. + +The period is rapidly passing in which dramatics is looked upon by +church members as being sinful and not in any way to be connected with +the church. This view is a relic of a conception of religion in which +all forms of freedom and pleasure were considered evil. People +interested in religious education are now realizing that dramatization +is not an activity foreign to children, but that it is an outgrowth of +the play interest which is natural to all children. They are aware of +the fact that dramatization becomes evident in the earliest stages of +childhood through the desire of children to imitate in play the +surrounding social activities. Many churches have already made use of +these natural tendencies by incorporating organized play as one of +their activities. Since dramatization is but a specialized form of +organized play, and inasmuch as it can be used very effectively in +vitalizing the religious training which all children should receive, it +deserves a wider recognition and adoption. + +This book contains a description of a children's dramatic club which +has been conducted as a part of the work of the Sunday school of the +Hyde Park Church of Disciples, Chicago, Illinois, for the purpose of +accomplishing the ends stated above. Before this dramatic club was +organized a small amount of dramatization was attempted in certain of +the classes during the Sunday-school period. The enthusiastic response +from the children to this new phase of the work revealed the need for +more of this kind of activity, and as a consequence it was decided to +devote one hour each Sunday afternoon to the dramatization of Bible +stories. The membership of the club included children ranging from six +to fourteen years of age. The average attendance has been from twenty +to thirty children each Sunday throughout these four years of the +club's existence. + +This organization was attempted more or less as an experiment with the +hope that definite results could be accomplished. The practical +problems which have arisen, the details of method of procedure, and the +results which have been secured will be discussed in the following +chapters. + +Several of the stories are given in the dramatic form which the +children have worked out. This is done for the sake of showing what +kind of a result may be secured. It is hoped that these plays, as they +are written here, will not be given to children to learn and act; such +a procedure would be entirely contrary to the spirit and purpose in +which this experiment is set forth. + + + + +CHAPTER II + +THE METHOD OF DRAMATIZATION + + +Two very different aims are revealed in the present-day employment of +dramatization. Children are often required to give a dramatic +production at some entertainment or social event. For this purpose a +story is selected which has already been put into dramatic form. The +parts are assigned by the leader, and the children are asked to +memorize these parts in exact form and order. The children are then +trained to give their parts according to directions. Throughout the +preparation of the play the finished production is the goal of +endeavor. In such instances as this the children are a means to an end, +and their own training and development are usually sacrificed in the +leader's attempt to secure a highly finished product. + +In contrast to the case just mentioned, dramatization is looked upon as +an important educational factor in the development of children. From +this point of view dramatization is utilized in developing on the part +of the child intense and permanent interests in the words and deeds of +noble characters, in developing power of natural expression in them as +individuals and as members of a group, and in raising standards of +action to higher levels by giving forceful expression to worthy ideals. +These aims are realized through the use of informal methods which give +the children abundant opportunity for initiative and choice. The +children themselves prepare their dramatization under the guidance of a +leader who has a vision of the results which may be secured and who is +skilful in directing the activities toward these ends. + +The little dramatic club herein described adopted at the outset the +point of view outlined in the preceding paragraph. Its organization was +based on the belief that the development of boys and girls is a much +more vital consideration than the development of a dramatic production. +Throughout its history the chief purpose of the club has been to +promote the growth of children through the free, spontaneous +dramatization of Bible stories. In order to accomplish this aim, an +informal method of working out dramatizations has been used. The public +presentation of a play is only incidental to the children; there is no +need for them to act out a story that has been dramatized by someone +else. Their aim is realized in the joy of actually living the story +over each time they play it, though this may result in the highest form +of entertainment. That children should "speak lines" given them to +memorize for the sake of entertainment is deadly--to the child as well +as to the audience. + +There is some difference of opinion as to the value of the classic +language of the Bible for children, and many advocate the use of modern +or simplified versions. If, however, the children have made their own +efforts to dramatize the story, using first of all their own words, it +is easy to help them to adopt much of the beautiful classic language in +putting the work into its final form. The biblical wording helps to +give the play its proper dignity and atmosphere, at the same time +acquainting the children with the exact language of a piece of good +literature. + +The method of procedure which is followed in leading children to work +out their own dramatizations varies slightly according to circumstances +but in the main is as follows: + +A story is chosen by the leader which includes the elements essential +for a good dramatization, and it is told to the children in such a way +that the action or events are emphasized. Direct discourse is used in +the telling, and an effort is made to develop simple and vivid mental +pictures. The children divide the story into its most important +pictures or scenes. They then suggest in detail what should take place +in the first scene, and some of them are asked to act it out as they +think it should be done. This first presentation is sometimes stiff +and more or less self-conscious. The leader raises such questions as, +"Which parts did these children do best?" "Why?" "Where can they +improve it?" "What would you do to make the part better?" "What do you +think should have been said here?" This leads to constructive criticism +of the scene by the children themselves rather than by the leader in +charge. Each child is eager to offer suggestions at this point and is +anxious for an opportunity to give his own interpretation of the part +by acting it out. He formulates his words as he acts. He forgets +himself in the genuine interest which arises as he relives the +experience of someone else. Each scene is developed in a similar +manner. + +The leader encourages freedom in individual interpretation, yet she is +ever keeping before the children the fact that they are trying to give +a true portrayal of the characters or conditions. It is often valuable +to have a discussion of individual characters for the purpose of +securing clear ideas concerning them. After all have tried various +parts and have offered many suggestions, they may be led to choose that +interpretation which seems most adequate, or they may all work out the +interpretation of a part which will involve the ideas of many. After +the story has been played through a few times, each child should be +able to assume any character. It is an essential part of this method +to see that every child has a different part each time. + +Very often, when the play develops to this stage, some one child, or +several, will suddenly become aware of repetitions in the scenes and +will suggest that some scenes are unnecessary. It is then the time to +refer to the number of scenes in a good drama, and to lead the children +to realize that in any good play much is left to the imagination of the +audience, and that only the essential scenes need be shown. By means of +discussions the play is worked over again, and it is finally reduced to +the three or four scenes that seem absolutely necessary. + +In many instances the dramatization needs no further development. None +of the words have been accepted as definite, for, although the thought +given is the same each time, exactly the same words are never said +twice. The story is interpreted slightly differently with each +performance. This interpretation, without obtaining a highly finished +result, is best for short stories or incidents. Fables and parables may +be used well in this way. The action follows continuously with the +development of the thought. + +In the case of a story which has a more detailed plot and which +involves more complicated situations the development may go further: +the wording is carefully worked out by the children and the language of +the Bible is employed. The words which are finally used by the +children may be composite results developed by the group as a whole, or +after they have gone as far as they can with them the leader, or a +committee composed of several children with the leader, may suggest a +final form which is good from a literary standpoint. + +Children either volunteer or are chosen by the others to take finally +certain parts. There is a marked socializing influence evident in the +fact that a child is chosen by the other children for the good of the +group and not for self-aggrandizement or partiality toward a friend. It +is always the case after a few rehearsals that each child knows every +part and can easily adapt himself to the part of any character. There +is no trouble about a substitute when one or two children fail to +arrive. Each child has lived the story until it has become a very vital +part of him. The finished product belongs to the children; they have +developed it; it is not the production of someone else which they have +learned by heart. + +At the final presentation of the play the children invite parents and +friends. This is not thought of as a climax toward which they have been +working; it is hardly more important than any of the rehearsals; it is +simply an opportunity for others to enjoy the story with them. The +encouragement of this attitude toward the public presentation of a +play is important in that it does away with the self-conscious feeling +of a child that he is acting before people, or that people are +interested in him rather than in the character that he portrays. Much +harm can be done by allowing a child to feel that he is "showing off" +on a stage. + +This mode of procedure in developing a dramatization illustrates the +general method which is employed in order to secure the results herein +discussed. It should be helpful as a method which may be varied or +built upon according to the circumstances. Detailed descriptions of +exact modes of procedure in presenting different kinds of Bible stories +to the dramatic club will follow. Costumes and stage settings have +always been of the simplest nature and will be discussed at length in a +separate chapter. + +In order that this method may be of greatest practical value to those +who are unfamiliar with it, a summary may give the steps in logical +sequence. This outline is not to be taken as unchangeable, but merely +as a working basis for the beginner. + + 1. Select a story with care; then adapt it for telling. + + 2. Tell the story, emphasizing the essential parts. + + 3. Let the children divide the story into pictures or scenes. + + 4. Have a discussion of what should take place in each + scene. + + 5. Let volunteers from among the children act out one scene + as they think it should be done, using their own words. + + 6. Develop criticism by the other children with suggestions + for improvement. + + 7. Have a second acting of the scene for improvement. + + 8. Let each of the other scenes be worked out in the same + manner. + + 9. See that every child has the chance to try out many parts. + + 10. Play the story through many times. Change it often + according to the criticism, until the children recognize the + result as a product of their best effort. + + 11. With the help of the children change the words into + biblical form. + + 12. Let the group assign definite parts to be learned for the + final performance. + + + + +CHAPTER III + +THE DRAMATIZATION OF _JOSEPH_ + + +As will be noted in the following chapter, it is well in beginning +dramatic work with children to use for the first efforts very simple +stories. _Joseph_ is too long and complicated for an early experiment. +We may begin our exposition of method with this story, however, as it +illustrates especially well the details of the developing process. + +At the first meeting the story was told in terms that followed closely +the Bible version. The children were asked to select the big events, or +pictures, in Joseph's life. They readily spoke of his life in Canaan as +a boy; his being put into the pit and sold to the merchants; his life +in Egypt with Potiphar; the prison experience and the interpretation of +Pharaoh's dream; the change of fortune in becoming ruler of the land; +the famine and the visits of his brothers; and, finally, his kindness +to his father and brothers in giving them a home in Egypt. + +The story was told to the children very much as follows: + + Jacob was an old man, too old to care for his large flocks. + He sat in the door of his tent day after day, and sent his + twelve sons off with the sheep and goats to find grassy + fields. + + Now of all the twelve sons Jacob loved Joseph, a lad of + seventeen years, the best. Joseph was next to the youngest + and often stayed with his father while the older brothers + went away. Jacob gave Joseph a coat of many colors and + showed him often that he was the favorite. This made the + older brothers very jealous of Joseph, and they began to + dislike him. + + Once Joseph dreamed a dream, which he told to his brothers, + and it made them hate him all the more. He said to them, + "Hear, I pray you, this dream which I have dreamed: Behold, + we were binding sheaves in the field, and, lo, my sheaf + arose, and stood upright; and, behold, your sheaves stood + round about and bowed down to my sheaf." Then his brothers + said to him, "Shalt thou indeed reign over us? or shalt thou + have power over us?" + + Then Joseph dreamed yet another dream, and he told it again + to his father and brothers, and said, "Behold, the sun and + moon and the eleven stars bowed down to me." And his father + said unto him, "What is this dream that thou hast dreamed? + Shall I and thy mother and thy brethren indeed come to bow + down ourselves to thee?" And the brothers remembered what + their father had said, and they wished that harm might come + to Joseph. + + It happened soon after this that Jacob sent his ten older + sons with the flocks to Shechem, a place some distance away + where there was good grass. Now the brothers were gone for + so long a time that their father became anxious and decided + to send Joseph after them. He said to Joseph, "Do not thy + brethren feed the flock in Shechem? Go, I pray thee, see + whether it be well with thy brethren and well with the + flocks; and bring me word again." So Joseph took money and + food in his bag, and his staff in his hand, and went out to + find his brothers. + + At Shechem there were no brothers to be seen. Joseph was + wondering what he should do next, when he saw a man coming + toward him over the field. "What seekest thou?" said the + man. And Joseph answered, "I seek my brethren; tell me, I + pray thee, where they feed their flocks." "They have + departed from here," said the man, "and have gone to + Dothan." Then Joseph went after his brothers and found them + at Dothan. + + Now when the brothers saw Joseph afar off, they knew that it + was he from his coat of many colors, and they plotted + against him. One of them said, "Behold, this dreamer cometh. + Come, now, let us slay him, and cast him into some pit, and + we will say unto our father that some evil beast hath + devoured him; and we shall see what will become of his + dreams." Reuben, one of the brothers, felt more kindly + toward Joseph than did the others and said to them, "Let us + not kill him, but let us cast him into this pit that is + near." Reuben thought that he would come back later after + the brothers had gone and help Joseph out of the pit and + take him to his father. + + When Joseph came to his brothers, they quickly took the coat + of many colors from him and bound him and cast him into an + old well which was dry. Then they sat down to eat bread. + They had hardly become settled when one of them cried out, + "Behold, I see a caravan! It is a company of Ishmaelites, + with their camels bearing spicery and balm and myrrh, going + down to Egypt." Then Judah said, "Why do we slay our brother + and conceal his blood? Come, let us sell him to these + Ishmaelites, and let not our hand be upon him, for he is our + brother and our flesh." The brothers were content to do as + Judah had said. They drew Joseph up out of the well, and + when the Ishmaelites came near they sold him to them for + twenty pieces of silver. And the brothers went away to kill + a goat so that they might dip Joseph's coat into the blood, + that their father might think that he had been killed by + some wild animal. + + Reuben did not know that Joseph had been sold, and returned + unto the pit after the brothers had left. When he saw that + Joseph was not there, he rent his clothes, and ran after the + others, crying, "The child is not, and I, whither shall I + go?" + + And when the brothers brought Joseph's coat to their father, + they said, "This we have found, thou knowest if it be thy + son's coat." And Jacob knew it, and said, "It is my son's + coat; an evil beast hath devoured him." Then Jacob put on + sackcloth and ashes and mourned for Joseph many days. + + Now the Ishmaelites brought Joseph down into Egypt and sold + him to Potiphar, a captain of King Pharaoh's guard. And + Joseph was faithful and served the Lord, and Potiphar saw + that he could be trusted with great responsibility and made + him ruler over his household. But Potiphar's wife grew + jealous of Joseph and disliked him, and told Potiphar things + which were untrue about Joseph. After awhile Potiphar began + to believe his wife and he decided that Joseph was not a + good man, so he had Joseph cast into prison. + + And it came to pass that the butler and the baker of the + king of Egypt were put into prison at the same time that + Joseph was there, and they were placed in his ward. One + morning Joseph found them both very sad and he said unto + them, "Wherefore look ye so sadly today?" And they said, "We + have dreamed a dream and there is no one to interpret it." + Then Joseph said, "Do not interpretations belong to God? + Tell me your dreams, I pray you." And they told him their + dreams, and he gave them the meaning thereof. To the chief + butler he said, "Yet within three days shall Pharaoh lift up + thine head and restore thee to thy place." But to the chief + baker he said, "Yet within three days shall Pharaoh lift up + thy head from off thee, and shall hang thee on a tree." And + it came to pass that on the third day Pharaoh gave a feast + to his servants, and he restored the chief butler to his + place, but he hanged the chief baker, as Joseph had + interpreted. + + At the end of two years Pharaoh dreamed a dream. He was + greatly troubled, and sent for all the wise men of the land + to tell him the meaning of his dream, but there was none + that could interpret it unto Pharaoh. Then the chief butler + spoke to the king and said, "I do remember this day, that + when Pharaoh was wroth with his servants and put both me and + the chief baker into the prison, that we each dreamed dreams + in one night; and there was a young man there, a Hebrew, who + interpreted to us our dreams, and they came to pass as he + interpreted, for the chief baker was hanged and I was + restored to my office." + + Then Pharaoh sent for Joseph, and they brought him in + hastily out of the dungeon. And Pharaoh said, "I have + dreamed a dream, and there is none that can interpret it, + and I have heard say of thee that thou canst understand a + dream to interpret it." And Joseph answered Pharaoh, "It is + not in me; God shall give Pharaoh an answer of peace." Then + Pharaoh said, "In my dream, behold, I stood upon the bank of + a river; and there came up out of the river seven fat cows, + and they fed in a meadow. And, behold, seven other cows came + up after them, lean and ill favored; and the lean and + ill-favored cows did eat up the fat and well-favored cows. + Then I dreamed again, and, behold, seven full ears of corn + came upon one stalk, and then seven ears, withered and thin, + came up after them, and devoured the good ears." + + And Joseph said to Pharaoh, "God hath shewed Pharaoh what he + is about to do. This is the thing which he is about to do: + Behold, there will come seven years of plenty throughout the + land of Egypt; and there shall rise up after them seven + years of famine, and the famine shall consume the land. Now, + therefore, let Pharaoh look out a man, discreet and wise, + and set him over the land of Egypt, and let him gather up + all the food during the years of plenty and lay it up in the + cities, so that the land shall not perish in the famine." + And the thing was good in the eyes of Pharaoh, and he said, + "Can we find such a one as this is, a man in whom the spirit + of God is? Forasmuch as God has shewed thee all this, there + is none so discreet and wise as thou art; thou shalt be over + my house, and according to thy word shall all my people be + ruled." Pharaoh took off his ring from his hand and clothed + him in fine linen and put a golden chain around his neck. + + Joseph went out from the presence of Pharaoh and went over + all the land of Egypt. He gathered up the food for seven + years, and laid up the food in the cities. And the seven + years of plenteousness that were in all the land of Egypt + were ended, and the seven years of famine began, and there + was famine in all the lands. Then Joseph opened the + storehouses and sold to the Egyptians, and other countries + sent to buy grain from Joseph because they had stored none. + + Now in Canaan Jacob and his eleven sons were suffering from + the famine. They heard that there was food in Egypt, so + Jacob sent down all the brothers, except Benjamin, to buy + food. When they came before Joseph and bowed themselves to + the earth, they knew him not. But Joseph saw his brothers, + and he made himself strange unto them, and treated them + roughly, that they should not know him. And when they bowed + before him Joseph remembered the dreams that he had dreamed + of them. "Ye are spies," he said, "ye are come to see the + bareness of the land." They answered him, "We are true men, + we are no spies. Thy servants are twelve brothers, the sons + of one man in Canaan; and, behold, the youngest is this day + with our father, and one is not." "Hereby ye shall be + proved," said Joseph, "if ye be true men; let one of your + brethren be bound in the prison while ye go and carry grain + to your father's house, but bring back your youngest brother + to me." + + The brothers took the food back to Canaan, to their father's + tent, and told him what the ruler in Egypt had said. Jacob + mourned and was loath to let Benjamin, his youngest son, go + back to Egypt with them. "My son shall not go down with + you," he said; "for his brother is dead and he is left + alone: if mischief befall him, then shall ye bring down my + gray hairs with sorrow to the grave." But the famine was + great in the land, and they had eaten up all the grain which + they brought from Egypt. The brothers would not go down + again until Jacob had consented to let them take Benjamin + with them. And Judah said unto his father, "Send the lad + with me and we will rise and go, that we may live and not + die. I will be surety for him; if I bring him not back unto + thee, then let me bear the blame forever." Then Jacob + answered, "If it must be so, do this: take the best of the + fruits in the land, and carry down the man a present, a + little balm, and a little honey, spices, and myrrh, nuts, + and almonds and take double money, and take also your + brother, and arise and go unto the man; and God Almighty + give you mercy before the man, that he may send you away + with your other brother and Benjamin." + + And the men took the present and double the money and + Benjamin, and went down into Egypt, and stood before Joseph. + When Joseph saw Benjamin, he ordered that the men be brought + to his home, and that a feast be made ready, and that the + other brother be brought out of the prison. But the men were + afraid because they were brought into Joseph's home, and + they bowed themselves to the earth before him and presented + their gifts. Then Joseph was greatly moved and said unto + them, "Is your father well, the old man of whom ye spake? Is + he yet alive?" And they answered, "Thy servant, our father, + is in good health; he is yet alive." And they bowed down + their heads. Then Joseph lifted up his eyes and saw + Benjamin, his mother's youngest son, and said, "Is this your + younger brother of whom ye spake unto me?" And he said to + Benjamin, "God be gracious unto thee, my son." Joseph was so + overcome by his love for Benjamin that he hastened out of + the room where he could weep alone. And he washed his face + and composed himself and commanded that the food be served. + They all ate and were merry, and Joseph helped Benjamin to + five times as much as he did the others. + + Then Joseph commanded the steward to fill the men's sacks + with food, and to put each man's money back into his sack, + and to put his silver cup into the sack of the youngest. As + soon as the morning was light the men were sent away. And + when they were gone out of the city and were not yet far + off, Joseph sent a servant after them to search their sacks + for his silver drinking-cup, and he sent word that the one + who had it should be brought back to him. + + Now the brothers were greatly distressed and protested that + they knew nothing of the cup. What was their astonishment at + finding their money in their sacks and the cup in Benjamin's + sack! Then they rent their clothes and returned to the city. + And Judah came to Joseph and fell on the ground and said, + "What shall we say unto my lord? or how shall we clear + ourselves? God hath found out our sin, behold we are my + lord's servants." Then Joseph said, "Get up and go in peace + unto thy father; I shall keep for my servant only the man in + whose sack the cup was found." And Judah came near to Joseph + and besought him that he allow Benjamin to return to their + father; he told him that he had promised his father to bring + the lad back safely, and that it would kill the old man if + they returned without Benjamin. "Now therefore, I pray + thee, let thy servant abide as a bondman, instead of the + lad." Then Joseph could not refrain himself, and he wept + before his brothers and made himself known to them. "I am + Joseph, do ye not know me? Is my father yet alive?" And the + brothers were troubled, and they did not know how to answer + him. "Come near, I pray you." And they came near, and he + said again, "I am Joseph, your brother, whom ye sold into + Egypt. Now be not grieved nor angry with yourselves that ye + sold me hither, for God did send me before you to preserve + your lives. Haste ye, go up to my father, and tell him that + Joseph, his son, still liveth, and bring him down unto me." + And Joseph fell upon Benjamin's neck and kissed him, and he + kissed all his brothers, and they were astonished, for they + knew now that this was Joseph whom they had sold. + + Now the word was spread over Pharaoh's house that Joseph's + brethren had come, and it pleased Pharaoh greatly. He came + in where they were and said unto Joseph, "This do ye: Say to + your brethren that they are commanded to go back into + Canaan, and to pack all their household goods, and to bring + their father and their families, and all their flocks, and + to return into the land of Egypt, for all the good of the + land shall be theirs." + + Then the brothers were joyful, and gave thanks unto Pharaoh + and to their brother, Joseph, and they left the city to go + back to their father. And when they came unto Jacob and told + him all, and showed him the wagons which Joseph had sent to + bring him down into Egypt, his soul rejoiced, and he said, + "It is enough; Joseph, my son, is still alive: I will go and + see him before I die." + +The children decided that it would take a great many scenes in order to +act out the story adequately. At first they mentioned seven or eight. +One child was asked to describe the first scene as he thought it ought +to be, and several others added to the description. Volunteers were +then called upon to act it out then and there. + +The first scene was placed in front of Jacob's tent. Jacob is anxiously +awaiting the return of his ten sons with the flocks. He becomes worried +because they do not come, so he sends Joseph to seek his brothers. +Joseph accepts the command and leaves the tent. + +This scene was acted very naturally and spontaneously by several groups +of children. Each time it was changed, for no two groups of children +interpreted the action or words alike. + +The children who were not acting were made to feel their responsibility +also, for they were asked to make note of the best parts. A general +discussion was held at the end of each presentation, in which the good +points were emphasized and suggestions were given as to improvement. +The criticism in all of this work comes for the most part from the +children; the leader in charge directs it, but keeps from imposing her +opinions. + +As the meetings of this dramatic club last but one hour, nothing more +could be done than work out one scene at this first time. The children +were asked to think the story over and to come the next Sunday prepared +to suggest the second and third scenes in detail. + +At the next meeting the second and third scenes were worked out in the +same manner as the first. + +The second scene places Joseph at Shechem. Here he meets the man who +tells him that his brothers have gone to Dothan. + +In the third scene the brothers are seated on the ground eating and +resting, with their shepherd staffs beside them; they begin to talk +about Joseph and to tell of his dream and their hatred of him. Just at +this point Joseph runs in and gives his father's message. He also tells +of his experience in Shechem in not finding them there. Then the +brothers take him and bind him and throw him into the pit. The caravan +comes along and Joseph is sold and taken away. After the brothers +depart, Reuben, not knowing that Joseph has been sold, comes back to +the pit, hoping to help him out. When he finds the boy gone, he weeps +and goes sorrowfully away. (A doorway which leads off from the stage at +the back was used for the pit. There were no camels in the caravan; the +men walked by.) + +During the next hour scenes which describe Joseph's life in Egypt were +roughly blocked out. The children made up their words as they acted the +parts. The language at this stage was very modern, but for the time +being the emphasis was placed upon the thought expressed and upon the +action. + +Several of the older girls volunteered to write out the first few +scenes in order to bring the language into better form. At the fourth +meeting these were brought in and discussed by the children. The +following is a version of the first scene just as it was written by a +girl of twelve years. It is given here that the contrast may be seen +between this as a piece of work which may be made better and the final +play at the end of the chapter. + + + SCENE I + + _Jacob:_ It is time my sons are returning with their flocks. + See if thou canst see them coming. + + [_Exit servant._] + + _First Lady:_ Yes, they have been gone a long time. We have + only Joseph and Benjamin with us. + + [_Enter servant._] + + _Jacob:_ What didst thou see? + + _Servant:_ Master, I saw nothing of your sons. + + _Jacob:_ I shall send Joseph after them. Bring Joseph + hither. [_Turns to another servant._] Bring a bag of food + for him to take with him on his journey. + + [_Servants leave._ JACOB _looks away, hoping to see his + sons._] + + _Jacob:_ I do not see them. What can be the matter? + + [_Enter_ JOSEPH _with servant._] + + _Second Lady:_ Joseph will be sure to find them. + + _Jacob:_ Joseph, my son, I am sending thee after thy + brethren. Take this food to Shechem and bring thy brethren + back to me. + + _Joseph:_ I will do as thou bidst. + + [JACOB _stands and puts his hand on Joseph._] + + _Jacob:_ May the Lord go with thee. + + END + +The third scene was written by a girl of eleven years and was as +follows: + + +SCENE III + + [_All brothers look down the road._] + + _All Brothers:_ What shall we do with him? + + _Seventh Brother:_ I know; let's kill him! + + _All except Reuben:_ Yea! Yea! + + _Reuben:_ Nay, do not kill him; let's put him in a deep pit. + + _Tenth Brother:_ Well, all right. + + [JOSEPH _appears; exit_ REUBEN.] + + _Joseph:_ Ah, I have found ye at last, my brethren. + + [_All grab_ JOSEPH.] + + _Joseph:_ What have I done to deserve this? + + _Fourth Brother:_ Get some rope! + + [_Exit sixth brother and brings some rope back with him. + Eighth and ninth brothers bind_ JOSEPH _with ropes. All + take hold of him and push him into the pit._] + + _Tenth Brother:_ But what shall we tell our father? + + _Eighth Brother:_ Let's tell him that Joseph was killed by a + wild beast. + + _Ninth Brother:_ We will take his coat of many colors, which + our father gave him, and dip it in the blood of a goat. + + _All:_ Yea! Yea! + + [_Seventh brother sees some merchants._] + + _Seventh Brother:_ I see merchants in the distance. Let's + sell Joseph to them. + + [_One brother goes after the merchants, while the + others bring_ JOSEPH _from the pit. Merchants enter._] + + _Tenth Brother:_ What will ye give us for this lad? + + _Merchant:_ I guess we can give ye about twenty pieces of + silver. + + [_Merchants take_ JOSEPH _with them. Brothers go on + their way. Enter_ REUBEN _after his brothers have gone. + He runs to the pit._] + + _Reuben:_ Joseph! Joseph! Where art thou? The lad is gone. + Whither shall I go? + + [REUBEN _goes away, sobbing and wringing his hands._] + + END + + * * * * * + +At the meeting when these were read the children began to criticize the +length of the play. One little boy made the remark, "We keep telling +the same things over; why can't we leave out that second scene? It is +so short, and Joseph could tell his brothers in the third scene that he +didn't find them at Shechem." This suggestion was readily accepted, and +as a consequence the second scene was omitted. Then the entire group +consciously worked on the play to see what parts were unnecessary. +Several children had recently been to the theater and had seen some +good plays. They told the others that there were few scenes and that +there was much left to the imagination of the audience. The result was +that this long-drawn-out play was cut down to three essential scenes. +The first scene was placed at Dothan, and was much the same as the +original scene iii. The second scene was placed at Pharaoh's palace +where Joseph was brought to interpret the king's dream. The third +represented the brothers coming to Joseph with Benjamin, the youngest, +ending with Joseph's forgiveness of them and his sending for Jacob, +their father. + +After these three scenes were decided upon, the older children were +asked to begin writing them out in final form. + +At the fifth meeting of the club all the children sat in a circle with +Bibles and pencils and paper and, together with the leader, they +formulated the speeches, making them conform as nearly as possible to +those in the Bible. The work that had been done outside was discussed +and built upon. This part of the procedure did not take as long a time +as it may seem, because the children knew so well what thoughts they +wanted to express--they had lived the story so many times. They +practiced after this, using the words they had decided upon. + +For the next meeting or two the children acted out the play, trying +each time to improve it by better interpretations of the parts. The +fact that they had learned definite words did not in the least check +the freedom of the action or cause the play to lose the spontaneity +which first characterized it, for the reason that the story had quite +become a part of the children before they decided upon the set +speeches. + +The question arose as to which children should take certain parts. In +some instances several wanted to learn the part of one particular +character. They were each given the opportunity of learning it, and +then at the next meeting each acted it as best he or she could before +the group. The other children were judges and decided upon the one who +seemed to represent the character best. Whenever this method of +choosing characters has been employed there has never been any hard +feeling on the part of a child because he was not chosen. The justice +of the choice is quickly recognized when it comes in this way rather +than from the leader. + +There were many little children in this club who were scarcely old +enough to learn a part or to say very much. They were easily worked +into the caravan, or they took such parts as servants in Pharaoh's +court. Each child was made to feel that one part was just as important +as another and that those who had nothing to say were very essential +elements because of their acting. + +Eight or nine meetings were needed before the play was entirely +finished. The children had very simple slips for costumes which they +had been wearing at each rehearsal. Bright-colored sashes and +headdresses they brought from home. Pharaoh was more gaily dressed than +the others. The child who took the part made for himself many ornaments +from gilt paper. + +Very little attention was given to stage setting, what was used was +extremely simple. A few of the older girls made designs from the +Egyptian lotus to stand around the walls of Pharaoh's palace or to be +carried by the servants. Colored illustrations of Bible stories by +Tissot were suggestive helps in these details. The ten brothers made +themselves shepherd staffs from limbs of trees. This small amount of +stage setting and costuming was used at many rehearsals and was all +that was necessary to produce the right atmosphere. + +As soon as the children felt that the play represented their best +effort they invited their parents and friends and presented it before +them one Sunday afternoon at the time for the regular meeting. + +It happened that a few days before the final presentation four of the +principal characters were taken ill with measles and chicken-pox. Four +others, who had not given special attention to these parts, but who had +minor parts, assumed the important rôles and went straight through the +play with no trouble whatever. The audience never knew the difference +and the children thought that it was entirely natural that they should +be able to do this. The play all the way through was characterized by a +spirit of dignity and seriousness. + +As direct results of this work in dramatization it was noted that all +the children had acquired a certain freedom of expression, a +self-confidence, without conceit or too much sureness, and the ability +to work harmoniously with the group. One or two timid children learned +to forget themselves, and one overconfident child was helped by seeing +that others could learn to do the part even a little better than +herself. + +The children who took part in this little play of _Joseph_ will never +forget it. Several years after the play was given they were frequently +referring to it with great happiness. Joseph is one of their favorite +characters because they have lived through his experiences with him. + +The following is the play as it was given in its final form. It is not +to be taken as a play which may be given to children to be learned as +it is; it is given here that there may be some idea of the standard +which may be reached. + + + + + JOSEPH + + + SCENE I + + PLACE: Dothan. + + CHARACTERS: Reuben, Simeon, Levi, Judah, Issachar, + Zebulun, Dan, Naphtali, Gad, Asher, Joseph, Several + Ishmaelitish Merchants. + + [_The ten brothers are sitting and lounging on the + ground, eating bread._] + + _Reuben:_ Shall we stay longer in this place? Our flocks + have fed well in Shechem and Dothan. Let us return again + unto Canaan and to the tent of our father, Jacob. + + _Judah:_ Oh, why should we go back? Our father loveth us + not! It is Joseph, our younger brother, that he favoreth! + + _Levi:_ Yes, this Joseph! This dreamer of dreams! He + thinketh he is greater than we. He thinketh he shall rule + over us! + + _Judah:_ Ye heard him when he said, "Hear this dream which I + have dreamed: Behold, we were binding sheaves in the field, + and, lo, my sheaf arose, and stood upright; and, behold, + your sheaves stood round about, and bowed down to my sheaf." + + _Simeon:_ Ha! Shall he indeed reign over us? Or shall he + have dominion over us? + + _Levi:_ Yea, and he dreamed yet another dream, for he said, + "Behold, the sun and the moon and the eleven stars bowed + down unto me." + + _Dan:_ What is this dream which he has dreamed? Shall his + mother and father and eleven brethren indeed come to bow + down themselves to him? + + _Simeon:_ Joseph and his dreams are hateful unto me! I was + glad when our father said to us, "Take the flocks to feed in + Shechem," for now we are free of him. + + _Levi:_ It seemeth to me that I see this Joseph, this + dreamer whom we hate. He is yet afar off, but he surely + approacheth us! + + _Reuben:_ Can it be he? + + _Dan:_ Yes, for I see the coat of many colors, the coat our + father made for his favorite son. + + _Levi:_ Why should he come to us? Cannot our father trust + the flocks to our hands without sending this Joseph to spy + on us? + + _Dan:_ It is he! It is Joseph! + + _Simeon:_ What shall we do? + + _Judah:_ Our time is come. We despise him; let us slay him. + + _Reuben:_ Nay, thou dost not mean to slay him! + + _Several:_ Nay! Nay! + + _Judah:_ We must surely slay him. We must rid ourselves of + this dreamer. Think how he said he should reign over us! Let + us be rid of him! + + _Simeon:_ Yes, thou art right--we must slay him. + + _Several:_ Yea, yea, slay him! Destroy him! He shall dream + no more such dreams! + + _Simeon:_ Behold, this dreamer cometh near! Come, now, and + let us slay him, and cast him into some pit, and we will + say, "Some evil beast hath devoured him," and we shall see + what will become of his dreams. + + _Reuben:_ Let us not kill him. Shed no blood, but cast him + into this pit that is in the wilderness, and lay no hand + upon him. + + [REUBEN _goes away._] + + [JOSEPH _runs up._ GAD _lays one hand roughly on his + shoulder._] + + _Gad:_ How comes it that thou art here? What is thy + business? + + _Joseph:_ My father commanded me and said, "Go, I pray thee, + and see whether it be well with thy brethren and well with + the flocks; and bring me word again." So he sent me out of + the vale of Hebron, and I came to Shechem. And you were not + there, and I came on after you and found you here. What + troubleth you? Hath aught happened to the flocks? + + _Simeon:_ Hear his tale! This dreamer of dreams! So he would + reign over us, would he! Strip him of his coat of many + colors! This favored son! + + [_Brothers bind_ JOSEPH _and cast him into the pit._] + + _Joseph:_ What have I done to deserve this? + + [_Brothers sit down again to eat their bread._] + + _Gad:_ Behold, I see a caravan! + + _Simeon:_ From what country? + + _Gad:_ It is a company of Ishmaelites, from Gilead, with + their camels, bearing spicery and balm and myrrh, going down + into Egypt. + + _Judah:_ What doth it profit if we slay our brother and + conceal his blood? Come, let us sell him to these + Ishmaelites and let not our hand be upon him, for he is our + brother and our flesh. + + _Several:_ So be it. + + _Gad:_ Hail the caravan, and bargain with these men. + + _Simeon_ [_salutes the head man of the caravan; the brothers + listen attentively;_ GAD _brings_ JOSEPH _out of the pit_]: + What wilt thou give us in exchange for this lad? We would + sell him. + + _Merchant_ [_looks_ JOSEPH _over, then consults with his + men_]: Twenty pieces of silver will we give for him. + + _Simeon_ [_to the brothers_]: These merchants will give us + twenty pieces of silver for this dreamer. + + _All:_ Sell him! Sell him! + + [JOSEPH _is taken over by the merchants and they all + move on. The brothers are dividing out the money._] + + _Gad:_ The lad is gone with the merchants, but what excuse + shall we make unto our father? + + _Simeon:_ Say unto him that a wild beast hath devoured him. + Here is his coat of many colors--we will kill a goat and dip + the coat in the blood! Then our father, Jacob, will grieve + for his son! + + _All:_ As thou sayest, so let us do! + + [_Brothers move off stage, discussing the money._ REUBEN + _comes back. He runs and looks in the pit. He tears his + clothes when he finds that_ JOSEPH _is not there._] + + _Reuben:_ The child is not, and I, whither shall I go? + + + SCENE II + + PLACE: Egypt. In Pharaoh's palace. + + CHARACTERS: Pharaoh, Joseph, Wise Men, Chief Butler, + Servants. + + [_Pharaoh is sitting on his throne; many wise men come + in and bow down before him._] + + _Pharaoh:_ Arise, O wise men of Egypt! I have sent for you + this day because of a dream which troubleth me. + + [_Men stand up._] + + _Wise Men:_ What is thy dream, O King? + + _King:_ I dreamed, and, behold, I stood by a river, and + there came up out of the river seven fat cows, and they fed + in a meadow. And, behold, seven other cows came up after + them out of the river, ill-favored and lean. And the + ill-favored and lean cows did eat up the seven well-favored + and fat cows. Then did I awake, but the second time I slept + and dreamed. And, behold, seven good ears of corn came up + upon one stalk, and, behold, seven thin ears sprung up after + them, and the seven thin ears devoured the seven full ears. + And I awoke again, and, behold, it was a dream. Now, is + there one among you who can tell me the meaning of these + dreams, for my spirit is troubled because of them? + + [_The wise men in turn come out and bow before the king + and say_]: + + _First Wise Man:_ O my lord King, thy dream troubleth me, + but I am not able to interpret it. + + _Second Wise Man:_ O King, also, I cannot tell thee the + meaning of thy dream. + + _Third Wise Man:_ Most gracious King, I, also, am unable to + interpret thy dream. + + _Fourth Wise Man:_ O great Pharaoh, I regret that I am + unable to help thee. + + _Pharaoh_ [_angrily_]: Are ye called the wise men of Egypt, + and yet are ye not able to interpret a dream? + + [_The chief butler comes forward and falls before the + king._] + + _Butler:_ O great King, I am only thy chief butler, but I + beg of thee allow me to speak. + + _King:_ Speak, butler, what wouldst thou say? + + _Butler:_ O King, I do remember my faults this day. When + Pharaoh was wroth with his servants and put me in prison, + both me and the chief baker, behold, we dreamed a dream in + one night, and there was a young man, a Hebrew, and we told + him, and he interpreted to us our dream. And it came to pass + as he interpreted unto us, for I was restored unto mine + office and the baker was hanged. + + _Pharaoh:_ Send for this young Hebrew; bring him into my + presence. [_Servant goes out for_ JOSEPH.] Butler, who is + this boy that interpreted thy dream? + + _Butler:_ His name is Joseph, O King. He was brought down + from Canaan by a caravan and was sold to Potiphar, the + captain of Pharaoh's guard. But he displeased Potiphar, so + he was thrown into prison at the time thy servants were + there. + + [_Enter_ JOSEPH. _He falls on his face before_ PHARAOH.] + + _Pharaoh:_ I have dreamed a dream, and there is none that + can interpret it, and I have heard say of thee that thou + canst understand a dream to interpret it. + + [JOSEPH _rises._] + + _Joseph:_ It is not in me; God shall give Pharaoh an answer + of peace. + + _Pharaoh:_ [_Repeats his dream to_ JOSEPH.] + + [JOSEPH _comes nearer to_ PHARAOH.] + + _Joseph:_ What God is about to do he sheweth unto Pharaoh: + Behold, there will come seven years of great plenty + throughout all the land of Egypt. And there shall arise + after them seven years of famine. And all the plenty shall + be forgotten throughout Egypt, and the famine shall consume + the land, and it shall be very grievous. Now therefore let + Pharaoh look out a man discreet and wise and set him over + the land of Egypt, and let him appoint officers over the + land. And let them gather all the food of those good years + that come, and lay up corn under the hand of Pharaoh. And + let them keep food in the cities. And that food shall be + stored against the seven years of famine, that the land may + not perish through famine. + + _Pharaoh:_ This plan seemeth good unto me. Can we find such + a one as this is, a man in whom the spirit of God is? + + _The Wise Men:_ Nay, O King, he is most wise. + + _Pharaoh:_ Forasmuch as God hath shewed thee all this, thou + shalt be over my house, and according to thy word shall all + my people be ruled, only in the throne will I be greater + than thou. See, I have set thee over all the land of Egypt. + [_To his servants:_] Bring a golden chain, and fine raiment + for this man. + + [_He puts a ring on_ JOSEPH'S _hand. When the clothes + are brought they are put around him, the chain on his + neck, etc._] + + _Pharaoh:_ Thou shalt ride in the second chariot and all my + people shall bow the knee unto thee. [_All people in the + room bow._] I am Pharaoh, and without thee shall no man lift + up his hand or foot in all the land of Egypt. + + _Joseph:_ May the Lord God give me power to do his will. + + + SCENE III + + PLACE: Pharaoh's palace. + + CHARACTERS: Joseph, His Eleven Brothers, Servants, + Pharaoh. + + [JOSEPH _is seated on his high seat. A servant comes + in._] + + _Servant:_ Master, the men that came down from Canaan to buy + food of thee have returned and would have a word with thee. + + _Joseph:_ Bring them in. [_To another servant_]: Go see that + a feast is prepared for these men. + + [_The brothers enter bringing_ BENJAMIN. _They all fall + on their faces._] + + _Joseph:_ Arise! And have you returned bringing with you + your youngest brother? + + _Reuben:_ O sir, we have brought our youngest brother; he is + here. + + [BENJAMIN _is led forward._ JOSEPH _goes near and puts + his hand on_ BENJAMIN.] + + _Joseph:_ And is this your younger brother of whom ye spake + unto me? God be gracious unto thee, my son! [_To the + brothers:_] Is your father well, the old man of whom ye + spake? Is he yet alive? + + _Levi:_ Thy servant, our father [_all bow heads_], is in + good health; he is yet alive. + + [JOSEPH _turns away and begins to weep; he leaves them + abruptly and walks to the other side of the room._] + + _Joseph_ [_to the servants_]: Cause every man to go out from + me! [_All begin to leave the room, brothers included._] [_To + the brothers. He walks quickly after them and holds his arms + out toward them._] Stay! I am Joseph; doth my father yet + live? Come near to me, I pray you. [_They come somewhat + nearer and fall to the ground._] I am Joseph, your brother, + whom ye sold into Egypt. Now, therefore, be not grieved nor + angry with yourselves, that ye sold me thither, for God did + send me before you to preserve life. For these two years + hath the famine been in the land; and yet there are five + years more. God hath sent me before you to save your lives. + Haste ye, and go up to my father, and say unto him, "Thus + saith thy son Joseph, God hath made me lord of all Egypt. + Come down unto me, and tarry not. And thou shalt be near + unto me, thou and thy children, and thy flocks, and thy + herds and all thou hast. Oh, do you not see that I am Joseph + that speak unto you?" [_He weeps again and turns away._] + + [Illustration: FIG. 1--Pharaoh's court] + + _Brothers:_ Joseph, our brother Joseph! Can he forgive us? + + [PHARAOH _enters here_] + + _Joseph:_ O King, these are my brethren, and from my + father's tent. + + _Pharaoh:_ Say unto thy brethren: "This do ye: Go back unto + the land of Canaan and take your father and your household + goods, and come unto me. And I will give you the good of the + land of Egypt, and ye shall eat of the fat of the land. Now + ye are commanded: This do ye: Take ye wagons out of Egypt + for your little ones, and for your wives, and bring your + father, and come, for the good of the land shall be yours." + + _One Brother:_ We thank thee, O great Pharaoh, and our + brother Joseph. This is greater than we deserve. We will + bring our father down straightway. + + _Joseph:_ Praise be to God who has done this good thing! + + END + + + + +CHAPTER IV + +THE DRAMATIZATION OF _DAVID AND GOLIATH_ + + +When beginning dramatic work with a group of children who have never +had the training before, it is always well to select as the first story +to be dramatized one that is short, simple in structure, and full of +action. If children undertake a long story which involves complicated +situations, they easily become discouraged and lose the joy and +spontaneity which are essential elements in successful dramatizations. +Fables, such as "The Boy and the Wolf" or "The Fox and the Grapes," are +excellent to begin with, because they contain the necessary qualities +which make up a good short story. Situations as simple as those which +are presented in these fables are entered into with great freedom, and +they seem to pave the way for more ambitious dramatizations. + +The story of _David and Goliath_ is short, simple, and yet contains +vivid action. It was chosen as one of the first stories to be given to +the dramatic club because of these qualities. After the children had +gone through the experience of dramatizing it they had gained a +self-confidence and a realization of their own power in interpreting a +story through dramatization. + +The methods employed in presenting _David and Goliath_ were much the +same as those described in connection with _Joseph._ The point that +must be kept in mind in all of this work is that the dramatization of a +story begins with the action and that the words are developed. The play +is never written first and acted afterward. + +While telling the story the leader placed much emphasis upon the +activities and ideals of the shepherd life of the Hebrews in the time +of David. The children made their own armor--helmets, swords, +shields--from cardboard and colored papers. Pictures and descriptions +which they secured helped them to get correct ideas as to shapes and +decorations. + +The costumes were simple little slips that could be belted in at the +waist, and came only to the knees. The children helped to plan and make +them. David made his shepherd staff from a limb of a tree, and the +soldiers made their spears by fastening gilded points to long sticks. + +A question arose as to how the sling was made. The children found, upon +looking up this point, that the sling was woven from different colored +wools. From a good picture they constructed looms from cardboard and +actually wove several slings like David's. Fig. 14 shows a diagram of +the loom as the children worked it out. + +A very great value was derived from this construction work, in that it +came entirely from the children; it was an outgrowth of their genuine +interest in the subject. They were reliving the same experiences and +solving the same problems that had confronted David. + +The gentle spirit of David had a direct influence upon the whole group. +It made no difference what part a child interpreted--whether that of +Goliath or of one of the brothers--it was evident that David's high +ideals and sweetness of character called forth admiration. + +Fig. 2 gives one of the scenes from _David and Goliath._ The play +follows as it was given. + + + DAVID AND GOLIATH + + CHARACTERS: David, David's Three Brothers, King Saul, + Goliath, Israelite Soldiers, Philistine Soldiers. + + + SCENE I. THE CHALLENGE + + PLACE: On the battlefield. + + _First Brother:_ Have ye seen this Philistine who is come + up, this giant who has defied the armies of the living God? + + _Second Brother:_ Who has seen him? + + _Third Brother:_ I have seen him; he is verily a giant. His + height is six cubits and a span. He weareth an helmet of + brass upon his head, and he is armed with a coat of mail, + and he hath greaves of brass upon his legs, and the staff of + his spear is like the weaver's beam; and one bearing a + shield goeth before him. Our soldiers are truly afraid. They + flee as he approacheth. + + [Illustration: FIG. 2.--A scene from _David and Goliath_] + + _Goliath_ [_apart from the king and soldiers_]: Why are ye + come out to gather your armies to battle? Am I not a + Philistine, and ye servants to Saul? Choose you a man for + you, and let him come down to me. If he be able to fight + with me, and to kill me, then will we be your servants; but + if I prevail against him and kill him, then shall ye be our + servants and serve us. I defy the armies of Israel this day; + give me a man, that we may fight together. + + [_Some of the soldiers turn and flee._] + + _Saul:_ Hear the words of this Philistine. I know not what + we can do. Have we no man among us with the strength or + boldness to fight this giant? I will enrich him with great + riches. + + _Second Brother:_ In truth, he is a mighty giant, O King. + Our soldiers are greatly dismayed; no one will accept this + challenge. + + [_The king and two soldiers go out. Enter_ DAVID. _He + runs up to his brothers and salutes them._] + + _First Brother:_ This is David, our younger brother! How + cometh it that thou art here? + + _Second Brother:_ I thought we left thee tending the sheep. + + _Third Brother:_ What news dost thou bring of our father? Is + all well with him? + + _David:_ My father commanded me, saying, "Take now for thy + brethren this parched corn and these ten loaves, and run to + the camp of thy brethren; and carry these ten cheeses unto + the captain of their thousand, and look how thy brethren + fare." And I rose up early in the morning, and left the + sheep with a keeper, and came as my father commanded. + + [_Brothers take food from_ DAVID.] + + _Goliath:_ Why are ye come out to gather your armies to + battle? Am I not a Philistine, and ye servants to Saul? + Choose you a man for you and let him come down to me. If he + be able to fight with me and to kill me, then will we be + your servants; but if I prevail against him and kill him, + then shall ye be our servants and serve us. I defy the + armies of Israel this day; give me a man, that we may fight + together. + + [DAVID _listens. The soldiers seem disturbed and + frightened._] + + _David:_ What meaneth this? + + _Soldier_ [_walks up to_ DAVID]: Have ye seen this man who + is come up? Surely to defy Israel is he come up. And it + shall be that the man who killeth him the king will enrich + with great riches, and will give him his daughter, and make + his father's house free in Israel. + + _David:_ Who is this Philistine that he should defy the + armies of the living God? + + _First Brother_ [_showing anger against_ DAVID]: Why camest + thou hither? And with whom hast thou left those few sheep in + the wilderness? I know thy pride, and the naughtiness of thy + heart; for thou art come down that thou mightest see the + battle. + + _David:_ What have I now done? [_He turns from his brothers + and speaks to the people._] What shall be done with the man + that killeth this Philistine and taketh away the reproach + from Israel? For who is this Philistine that he should defy + the armies of the living God? I will fight him, and if I + prevail against him and kill him, then will the Philistines + be our servants and serve us. The Lord God of Israel will + deliver him into my hands. + + _Soldiers:_ Saul, the king, shall hear these words! + + + SCENE II. DAVID BEFORE SAUL + + PLACE: Saul's tent. + + _David_ [_comes in and salutes the king_]: Let no man's + heart fail because of this giant; thy servant will go and + fight with this Philistine. + + _Saul:_ Thou art not able to go against this Philistine to + fight with him; for thou art but a youth, and he a man of + war from his youth. + + _David:_ Thy servant kept his father's sheep, and when there + came a lion or a bear, and took a lamb out of the flock, I + went out after him and smote him, and delivered it out of + his mouth; and when he rose up against me, I caught him by + the beard and smote him and slew him. Thy servant slew both + the lion and the bear; and this Philistine shall be as one + of them, seeing he hath defied the armies of the living God. + The Lord that hath delivered me out of the paw of the lion, + and out of the paw of the bear, he will deliver me out of + the hand of this Philistine. + + _Saul:_ Go, and the Lord go with thee. [_To soldiers_]: + Bring forth armor; this youth must be ready to meet the foe. + + [_The soldiers bring armor._ SAUL _puts the armor, a + helmet and a coat of mail, on_ DAVID. DAVID _puts on his + sword, then walks a few steps. He suddenly throws the + sword down and begins to take off the armor._] + + _David:_ I cannot go with these, for I have not proved them. + [_He takes the armor off and keeps only his shepherd's staff + and sling._] The Lord that delivered me out of the paw of + the lion, and out of the paw of the bear, he will deliver me + out of the hand of this Philistine. + + [_He bows to the king and goes out._] + + + SCENE III. THE BATTLE + + PLACE: The battlefield. + + [DAVID _picks up five smooth stones and puts them into + his shepherd bag._ GOLIATH _comes toward him. He is + dressed in armor, and the man that bears his shield + comes before him._ GOLIATH _looks surprised and + disgusted when he sees_ DAVID.] + + _Goliath:_ Am I a dog that thou comest to me with staves? + Come to me and I will give thy flesh unto the fowls of the + air and unto the beasts of the field. + + _David:_ Thou comest to me with a sword, and with a spear + and with a shield; but I come to thee in the name of the + Lord of hosts, the God of Israel, whom thou hast defied. + This day will the Lord deliver thee into mine hand; and I + will smite thee, and take thy head from thee; and I will + give the bodies of the Philistines unto the fowls of the + air, and unto the beasts of the field, that all may know + that there is a God in Israel. And all this assembly shall + know that the Lord saveth not with the sword and with the + spear, for the battle is the Lord's and he will give you + into our hands! + + [DAVID _puts his hand into his bag and takes out a + stone and slings it, so that it hits the giant in the + forehead. The giant falls. The Philistines flee._ DAVID + _stands with his foot on the body of the giant._] + + _Israelite Soldiers with David:_ The battle is the Lord's! + + END + + + + +CHAPTER V + +THE DRAMATIZATION OF _MOSES IN THE BULRUSHES_ + + +The method of presenting the story of _Moses in the Bulrushes_ differed +somewhat from that employed with _Joseph._ There was little need to +tell the story at the beginning, for every child already knew it in +detail. Consequently the leader had the children tell most of it, while +she supplemented and directed attention to important parts. + +In this case the entire play was planned roughly before any of it was +acted. The story was criticized by the children as to its organization +and unity, and as a result they made up an ending (Act III) which they +felt was needed to make the story complete. Experience with the other +plays had led the children to feel the necessity for having a +satisfactory ending after the climax. + +At the second meeting several girls brought in the scenes as they had +written them out. They had tried to embody the points which the +children had decided upon as the general plan of the play. The final +play varies very little from these scenes thus written by the girls +themselves. + +There was no difficulty in solving the problem as to what they would do +for a baby in the first part of the play. Many dolls were brought in, +and the choice fell upon the one that received the largest number of +votes because of his likeness to the baby Moses. A woven basket served +for the cradle of bulrushes. There were many rehearsals when there was +no doll or cradle, but the children never felt the lack. Their +imaginations can supply all needs. + +A few big Egyptian designs were made for the first and last scenes, +which were placed in the king's court. These were fastened on the walls +and around the king's seat, as was done in the play of _Joseph._ + +Before the play was given before parents and friends the children +decided to call it _The Childhood of Moses._ An older boy in the church +printed programs for the occasion that the audience might better +understand the play. They read as follows: + + THE CHILDHOOD OF MOSES + + Dramatized and Presented by the Children's Dramatic Club of + the Hyde Park Church of Disciples + + CHARACTERS + + PHARAOH King of Egypt + PRINCESS Pharaoh's Daughter + MOSES A Hebrew Boy + HEBREW WOMAN Mother of Moses + MIRIAM Sister of Moses + AARON Brother of Moses + WISE MEN Advisers of Pharaoh + Soldiers, Attendants to the Princess, Servants + + + SYNOPSIS OF SCENES + + Act I. Pharaoh orders the killing of Hebrew boys. + + Act II, Scene 1. In the home of a Hebrew family. + + Scene 2. A Hebrew mother hides her child + among the bulrushes. + + Scene 3. The child is found by Pharaoh's + daughter. + + Act III. Moses is brought to Pharaoh's court. + +The following is the play as it was given: + + + THE CHILDHOOD OF MOSES + + ACT I + + CHARACTERS: King, Wise Man, Chief Adviser, Queen, + Maids, and Soldiers. + + _King:_ Behold, the people of the children of Israel are + more and mightier than we. Come, let us do wisely with them + lest they rise up and make war against us. + + _Chief Adviser:_ What more can we do than we have already + done? We have made their lives bitter with hard service, and + we have made them carry our brick and mortar and work in our + fields. + + _Wise Man:_ O King Pharaoh, I beg thee to let me speak. + + _King:_ Speak, Wise Man. + + _Wise Man:_ O King, I pray thee to be kind to these people. + When these Hebrews first came down from the land of Canaan, + a young man named Joseph saved our land from great famine. + These Israelites are his children's children and we should + treat them kindly. + + _King:_ Treat them kindly! We have been kind to them long + enough; we must destroy them. I will command that every + Hebrew boy baby be killed! + + [_Exeunt_ KING _and courtiers followed by soldiers._] + + _Princess:_ O most gracious father, have mercy upon them. + + + ACT II + + SCENE I + + PLACE: The home of a Hebrew family. + + CHARACTERS: Moses, Mother of Moses, Miriam, Aaron. + + [_The mother is singing to the baby in her lap._ AARON + _is playing on the floor._ MIRIAM _runs in._] + + _Miriam:_ O mother! The king has commanded that all the boy + babies be thrown in the river! How can we save our baby? + + _Mother:_ Where shall we take him? I have hidden him for + these three months, but he is so big now and his cries are + so loud that they will be sure to find him wherever we go. + + _Miriam:_ Come quickly, mother; we will go to the river and + hide him nearby. Pharaoh cannot find him there, for he will + think that he has been thrown in the water. + + _Mother:_ O my poor baby! + + [_The three run out._] + + + SCENE II + + PLACE: The river bank. + + CHARACTERS: Moses, Mother of Moses, Miriam. + + [_The mother appears with the baby in her arms._ MIRIAM + _follows._] + + _Miriam:_ O mother! We can hide him in these tall grasses! + + _Mother:_ But I must have something to put him in. Gather + these rushes and I will weave a little cradle for him. + + [_They both pick bulrushes and the mother weaves the + basket._] + + _Mother:_ How can I leave him here alone? My little + daughter, will you stay and watch and bring me word quickly + if anything happens? We will hide the baby in this basket + among the flags, here at the edge of the water. + + _Miriam:_ Good! Mother, I will hide nearby and see that no + harm comes to our baby. + + [_The mother kisses the baby and puts him in the basket, + then rises and turns away._] + + _Mother:_ Keep watch until I return. + + [_Exit mother;_ MIRIAM _hides._] + + + SCENE III + + PLACE: The river bank. + + CHARACTERS: The Princess, Her Maidens, Soldiers, Moses, + Mother of Moses, and Miriam. + + [_Several soldiers walk across the stage. Enter_ + PRINCESS _and her maids._] + + PRINCESS [_looking around_]: What beautiful clear water for + my bath! + + _First Maid:_ Yea, Princess. Will you bathe here? + + [_A baby's cry is heard._] + + _Princess:_ What is it I hear? It sounds like a baby crying! + Look about, maidens! Is there something here? + + [_All look about._] + + _Second Maid_ [_finds baby; all come running up to her_]: + See what is here! + + _Princess:_ A baby hidden in a basket! Bring him to me! + + [_Third maid hands basket to_ PRINCESS, _who takes the + baby out._] + + _Princess:_ Oh, what a beautiful baby! He is mine, for I + have found him! A Hebrew baby! His mother has hidden him in + the bulrushes to save his life. + + [MIRIAM _runs out._] + + _Miriam:_ Lady, would you like a nurse for that baby? + + _Princess:_ A nurse for him? Yes, I do need a nurse. + + _Miriam:_ I can get you one very quickly. + + _Princess:_ Go bring her, child; I will wait here. + + [MIRIAM _goes away running._] + + _Princess:_ He is my boy, and I will call him Moses, for I + drew him out of the water. + + [_Enter the mother and_ MIRIAM.] + + _Miriam:_ Here is the nurse, lady. + + _Princess:_ Will you take good care of this baby for me + until he becomes a youth? I will pay you wages. I am the + Princess, King Pharaoh's daughter. I will see that he is + educated as a prince in my father's court. + + [PRINCESS _and her maids go out._] + + _Mother:_ My boy is saved! My boy is saved! + + + ACT III + + SCENE I + + PLACE: Pharaoh's palace. + + CHARACTERS: King Pharaoh, Princess, Maids, Soldiers, + Wise Men, Mother of Moses, Moses, Miriam, Aaron. + + [_King sits on his throne, wise men and soldiers around. + Enter messenger._] + + _Messenger:_ O King, the Princess awaits without and would + have speech with thee. + + _King:_ Bid her enter. + + [_Enter_ PRINCESS _and a few attendants._] + + _Princess:_ O gracious King and father, I have a request, + and I beg that you grant it. + + _King:_ Speak, my Princess; do I not always grant what you + ask? + + _Princess:_ Yes, father, and I know that you will grant me + this. Several years ago I adopted a son and I ask that you + allow him to be educated in your palace. + + _King:_ Adopted a son! What can be the meaning of this? I + never heard of this! Where did you get the boy? + + _Princess:_ I found him, a little baby, hidden among the + rushes by the river bank. + + _King:_ Why was he hidden? That is strange! + + _Princess:_ He is a Hebrew boy, O father. + + _King:_ A Hebrew boy! Did I not command that every Hebrew + boy should be killed? + + _Princess:_ I must take the blame; I had his life spared. + Will you not let him be brought here? + + _King:_ No, I will not! No Hebrew boy shall be brought here! + + _Princess:_ If you would only see him, he is so beautiful, + you would love him as I do. He is without; permit me to show + him to you. + + _King:_ Bring him in. + + [_Maid goes to get_ MOSES. MOSES _enters with his + mother_, MIRIAM, _and_ AARON. PRINCESS _leads him to + the_ KING.] + + _Princess:_ This is my son. Is he not a wonderful boy? + + _King:_ He is fair to look upon, but yet he is a Hebrew. + + _Princess:_ O my father, forget that he is a Hebrew and + remember only that he is my son. + + _King:_ O my Princess, for your sake, I accept this boy. I + leave his training to you. May he grow up to be a prince + worthy of the house of Pharaoh. + + END + + + + +CHAPTER VI + +THE DRAMATIZATION OF _RUTH_ + + +_Ruth_ was dramatized by the club during the fall of the year because +it is a story of the Hebrew harvest time. In order fully to interpret +the life of Ruth it was necessary for the children to secure +information concerning the barley harvest in ancient Palestine, and +also to become familiar with the old customs involved in the story. +Many children brought pictures which illustrated the points under +discussion, and some of them contributed by telling what they had been +able to read at home. Independence on the part of the children in +looking up data was always encouraged by the leader; the information +which she had to give enriched and supplemented that which was brought +in by them. + +During the process of this dramatization constant comparisons were made +with our own harvest time, and the study of the Hebrew harvest feasts +and festivals served to increase the understanding and appreciation of +our one harvest festival at Thanksgiving. + +The method of procedure in presenting this story for dramatization +follows closely that described in connection with _Joseph._ The Bible +version of _Ruth_ is so simply and beautifully told that it needed +very little adapting. When it was first given to the children parts of +it were read and parts were told by the leader. Many scenes were then +planned, but these were soon cut down to the three necessary scenes. +From the first the children used much of the Bible language as they +acted the story. The beauty and the poetry of it caused them to +remember readily the exact wording in many cases. + +Seven meetings were required before the group was satisfied with the +play as a product of their best effort. As was the case with the other +plays given by the club, the children who were to take the parts in the +final presentation were selected by the group and not by the leader in +charge. Every child knew each part and could represent any character, +but children were chosen for specific parts because they seemed to +represent certain characters unusually well. + +The dramatization of this story called for much construction work. The +reapers made their sickles of cardboard and covered them with gold or +silver paper or painted them. They found pictures which gave the shape, +and from these they cut the patterns (Fig. 15). One little girl brought +a real sickle which had once belonged to a Filipino. It gave her +happiness to reap with it, but the others were just as content to use +the sickles from cardboard. + +The need for a harvest song was felt, and in consequence a little song +that most of the children knew was decided upon. The reapers sang it as +they reaped and while Boaz was walking through his grain field. There +was no real grain nor anything to represent it, the children deciding +to leave this to the imagination. The action of the reapers and the +words that were spoken gave evidence enough that grain was growing +there. + +There was very little stage setting used in the play. The stage was +bare in the first scene in order to represent the road from Moab to +Bethlehem. In the second scene a big earthenware jar was needed from +which the reapers could drink. The third scene required a box which +represented a seat by the city gate; the door which led off the stage +at the side was used for the gate. + +The action and the grouping of people in the third scene required +careful planning by the children. Women came through the gate and +passed down the street with water jugs on their shoulders; men gathered +in groups to discuss bits of news; Boaz walked toward the gate and sat +waiting for his kinsman. Finally, when the cousin appeared, Boaz hailed +him and had him sit down. The citizens who were standing near were +asked to be witnesses in this business transaction. That one man should +take off his shoe and hand it to another was a custom that created much +interest among the children. They began to examine pictures for the +kinds of shoes that were worn, and this led many of them to wear their +own sandals, which approached most nearly to those seen in the +pictures. The children who did not own sandals tried to make them with +cardboard and strips of cloth (see Fig. 26). + +The costuming was very simple. The reapers wore the same little brown +slips which had been worn in every play that had been given. Boaz +enriched his costume by wearing brighter colors in his headdress and +girdle and by wearing a slip that was longer than the others. + +The play follows as it was finally given. + + + RUTH + + + SCENE I + + PLACE: In Moab, on the road to Judah. + + CHARACTERS: Naomi, Ruth, Orpah. + + SETTING: Naomi, Ruth, Orpah, are on the road going + toward Judah. + + [NAOMI _stops and faces about._] + + _Naomi:_ Turn back, my daughters-in-law; return each of you + to your mother's house. You have come with me far enough. I + must take the rest of my journey alone. + + _Orpah and Ruth:_ Oh, do not send us back! We will not leave + thee! + + _Naomi:_ Yea, you must leave me now. I am going home to my + own country and my own people, to Bethlehem, Judah! It is + ten long years since I left there to come to dwell in your + land of Moab. But now that the famine is over I must + return. + + _Orpah:_ But, Naomi, our mother-in-law, we love thee. Do not + thou leave us! + + _Naomi:_ I must go. I came to this country happy--with my + husband and two sons--but misfortune has dealt bitterly with + me. My husband first died, and now my two sons, your + husbands, are taken from me. I am old and sad. I have no one + left to comfort me. I must go back to mine own people. Leave + me, my daughters, and God bless you! + + [_Both daughters weep._] + + _Orpah_ [_weeping and kissing_ NAOMI]: If thou wilt be + happier, then thou must leave us. I will return to my + mother's house as thou sayest. [_She goes off slowly, + weeping._] + + [RUTH _still stands by weeping. Takes hold of_ NAOMI'S + _hand._] + + _Naomi:_ Behold, Orpah, thy sister-in-law, has gone back to + her people and unto her gods; return thou after thy + sister-in-law. + + _Ruth:_ Intreat me not to leave thee, nor to return from + following after thee: for whither thou goest, I will go; and + where thou lodgest, I will lodge; thy people shall be my + people, and thy God my God: where thou diest, will I die, + and there will I be buried: the Lord do so to me, and more + also, if aught but death part thee and me. + + _Naomi:_ Since thou art so steadfastly minded to go with me, + Ruth, I will cease urging thee. Come, thou mayest go with me + to Bethlehem. + + + SCENE II + + PLACE: In the barley fields of Boaz. + + TIME: The harvest season. + + CHARACTERS: Boaz, Ruth, Head Reaper, Reapers, Gleaners. + + + [_The reapers come in with their sickles, followed by + the gleaners._] + + _Head Reaper:_ Truly we have a wonderful harvest this year! + + _First Reaper:_ Yea, we will have food enough for ourselves + and for all the poor in our city of Bethlehem. + + _Head Reaper:_ It is the great God that hath given us this + bounty. + + [_All sing harvest song as they reap. While they are + singing_ RUTH _comes in and begins to pick up the + grain._] + + _Second Reaper_ [_looking toward the entrance to the + field_]: The master is coming, the great Boaz! + + [_All reapers look in that direction as they stand, + resting their sickles on the ground._ BOAZ _enters._] + + _Boaz:_ The Lord be with you! + + _Reapers:_ The Lord bless thee! + + [_All go to work again, singing as before._ BOAZ _walks + among them; he sees_ RUTH _and watches her._] + + _Boaz_ [_to the_ HEAD REAPER]: My good man, I would speak a + word with thee; come hither. + + _Head Reaper:_ Speak, O master! + + _Boaz:_ Whose damsel is this that gathereth grain after the + reapers? + + _Head Reaper:_ My master, she is Ruth, the Moabitish damsel + that came back with Naomi, thy kinswoman. She hath been + gleaning here since early morning. + + _Boaz:_ Go, bid the reapers not to harm her, and bid them + let fall purposely some of the handfuls of grain for her. + + [_The_ HEAD REAPER _bows low and goes back among the + reapers._] + + _Boaz_ [_to_ RUTH]: Hearest thou not, my daughter? Go not to + glean in another field, but stay here by my reapers. Let + thine eyes be on the reapers, and do thou glean that which + they leave behind. When thou art athirst, go unto the + vessels and drink that which the young men have drawn. + + _Ruth_ [_bows to the ground_]: Why have I found such favor + in thine eyes, seeing that I am a stranger in the land? + + _Boaz:_ It has been told me of thy great kindness to thy + mother-in-law, Naomi; how thou didst leave thine own people + to come with her and be among strangers; and how thou didst + leave thy gods to take the God of the children of Israel. + The Lord will bless thee for this. + + _Ruth:_ I thank thee, O great Boaz, for thou hast comforted + me and thou hast spoken friendly words unto me. + + _Boaz:_ Come hither at meal times and eat of the bread and + dip thy morsel in the vinegar with my reapers. + + [_The reapers have departed._ BOAZ _goes off._] + + _Ruth:_ The Lord God is truly good unto me! + + + SCENE III + + PLACE: At the gate of the city. + + CHARACTERS: Boaz, a Cousin of Naomi, Ten Citizens, Ruth, + Naomi. + + [_Several citizens stand in groups, talking._ BOAZ + _enters._] + + _Boaz_ [_speaks to one of the group_]: Hast thou seen my + cousin pass this way? I am seeking him. + + _First Citizen:_ Nay, good sir, I have not seen him. + + _Boaz:_ I must speak with him; I will wait here by the city + gate; perchance he will come soon. + + [_One or two citizens pass by and speak to_ BOAZ, + _saying, "Good-day, sir." Enter_ KINSMAN.] + + _Boaz:_ Ho, Kinsman, turn aside! I would have a word with + thee. Sit thee down. + + [KINSMAN _sits down._] + + _Kinsman:_ What wilt thou, Cousin? + + _Boaz:_ I would speak about a matter of importance; wait + thou here until I can bring witnesses. [_He turns to + citizens._] A piece of land is about to be sold; will ten + citizens witness this deed? + + _Citizens:_ Aye, indeed. [_They come forward._] + + _Boaz:_ Sit ye down here. [_They sit down._] [_To_ KINSMAN]: + Dost thou remember Naomi, our kinswoman, who went with her + husband and two sons to the land of Moab? + + _Kinsman:_ Yea, I do know Naomi. + + _Boaz:_ She selleth a parcel of land which was her + husband's. Now, thou art nearest of kin to Naomi, so I + thought to advise thee that thou mayest have the first + chance to redeem the land in the presence of the elders of + the city. If thou dost not care to redeem it, then the right + to redeem it cometh to me, for I am next of kin. What wilt + thou do? + + _Kinsman:_ I will buy the land from our kinswoman, Naomi. + + _Boaz:_ On the day that thou buyest the field from the hand + of Naomi, thou also takest Ruth, the Moabitess, for thy + wife, according to our custom and law. + + _Kinsman:_ Then I will not redeem the land, for I cannot + take Ruth for my wife. Take thou my right to redeem it and + buy it for thyself. + + _Boaz_ [_taking off his shoe and giving it to the_ KINSMAN, + _he says to the witnesses_]: Ye are witnesses this day that + I have bought this parcel of land from Naomi and that I buy + also, as my wife, Ruth, the daughter-in-law of Naomi. Of all + this ye are witnesses. + + _Citizens:_ We are witnesses. [_Bow._] + + [KINSMAN _returns shoe to_ BOAZ _and walks off._ RUTH + _and_ NAOMI _come through the street._] + + _Boaz:_ Ye are well met, Naomi, my kinswoman, and Ruth. I + have good news for you; I have bought your land and I can + now take Ruth for my wife. Come, all ye fellow-citizens, for + the wedding feast is prepared at my house! + + [_Takes_ RUTH _by the hand._] + + _Naomi:_ Blessed am I that I should live to see this good + thing come to pass! The Lord hath been most gracious unto + me! + + END + + + + +CHAPTER VII + +THE DRAMATIZATION OF _QUEEN ESTHER_ + + +The story of Esther involves a much more complicated situation than any +of the others here described. It is not too difficult for +dramatization, however, if it is taken after such stories have been +worked out as _David and Goliath_ and _Joseph._ + +In the case of this dramatic club the story of Esther was told to the +children after they had had much experience with other plays. The +interesting plot and the beauty and richness of the court made so great +an appeal to them that they were eager to begin the dramatization. The +story was first simplified and adapted by the leader, and then told in +such a manner as to emphasize the main events. The method of procedure +followed that described in chapter iii in connection with the story of +Joseph. After the telling of the story the scenes were selected. These +were acted out very freely at first, little thought being given to the +words. Many pictures were brought in, and descriptions of the court of +King Ahasuerus were read by the children from the Bible and from books +of Bible stories. + +In the second scene the children decided to have the maidens dance +before the King. Several little girls who were trying out the part of +Esther made up dances for themselves. This feature made this scene +especially attractive. + +This play was longer than those that had previously been dramatized, +and it therefore took a longer period of time to bring it into final +shape. There is no reason to hurry a dramatization. If the aim of this +kind of work is kept in mind, there will be growth on the part of the +children at each meeting. The value lies, not in how many stories can +be dramatized during a year, but in how thoroughly the children are +reliving a few good stories. + +The play of _Queen Esther_ made it necessary to construct several +articles. Gold dishes of various kinds were made by covering cardboard +with gold paper. These were used at the Queen's banquet. From the many +scepters that were submitted the King chose the one for final use. +Elaborate gowns and headdresses were gathered; beads and jewels of all +descriptions were made from brilliantly colored papers. + +The children took the responsibility of the costuming. The majority of +them planned their own garments and either brought things from home or +selected some suitable costume from those which the club had on hand. +Two of the older girls took entire charge of the younger ones and saw +to it that each had some simple slip to wear in the play. + +The play follows as it was finally worked out by the children. + + + THE STORY OF QUEEN ESTHER + + SCENE I + + PLACE: The King's palace--Shushan. + + CHARACTERS: King Ahasuerus (king of Media and Persia), + Haman (chief counselor), Persian Princes, Servants. + + [_The_ KING _is seated on his throne, princes seated + before the_ KING, _and_ HAMAN _is seated by the_ KING'S + _side. Servants are bringing drinks in golden vessels._] + + _King:_ The seventh day of this feast hath come, and on this + day will I bring my beautiful Queen, Vashti, before you. The + princes of my land must depart, bearing a good report of my + fair Queen as well as of the great riches of my court. + Chamberlains, come forth! [_The servants come before the_ + KING _and bow._] I command you to bring Vashti, the Queen, + before my presence. [_Servants withdraw._] + + _First Prince:_ O King, this is a great honor that thou + bestowest upon us! + + _Second Prince:_ Yea, Vashti, the Queen, is already known + over the land for her wondrous beauty. We are most happy + that thou wilt allow thy servants to behold her. + + _Third Prince:_ What wonderful tidings we will spread over + thy provinces, O King. Thy people do not know the half of + thy riches and thy wonderful greatness and generosity. + + [_Enter servants. They bow low._] + + _King:_ Rise; what is thy message? + + [_They do not rise._] + + _First Servant:_ O King, be merciful unto us! + + [_They bow lower._] + + _King:_ What meaneth this? Speak! [_in astonishment_] I + command thee. Where is the Queen? + + _Second Servant:_ O great King, we delivered thy message as + thou didst command, but the Queen has refused to come before + thy presence. + + [_All the princes and the_ KING _show surprise and + anger._] + + _King:_ Refused to obey me? This is impossible! Are ye + certain that she understood the meaning of my command? + + _Servants:_ We are, O King. + + _King:_ She hath refused! It cannot be! [_He looks absently + away._] She must be punished. + + _Haman:_ What shall we do to Queen Vashti according to the + law, because she hath not performed the commandment of King + Ahasuerus? + + _First Prince:_ She hath not done wrong to the King only, + but also to all the princes of the land, for this deed of + the Queen shall become known unto all the women of Media and + Persia and they shall despise the command of their husbands: + "Because," they shall say, "King Ahasuerus commanded Vashti, + the Queen, to be brought before him and she came not." + + _Second Prince:_ What shall we do? This will cause great + trouble and disobedience. + + _King:_ What thinkest thou, Haman, my chief counselor? + + _Haman:_ If it please the King, let there go forth a royal + commandment and let it be written among the laws of the + Medes and Persians that Vashti come no more before + Ahasuerus, and let the King give her royal estate to + another that is better than she. Then when this decree + shall become known all wives shall give honor unto their + husbands. + + _King:_ This saying pleaseth me greatly. I shall do + accordingly. [_To servants_]: Send letters unto every + province to every people, which shall state this decree, so + that every man shall know it. + + _Haman:_ O King, I pray thee, let there be fair maidens + brought before thee from which thou shalt choose another + which shall be thy Queen. + + _King:_ So be it! See that fair maidens from every province + be brought here to my palace; and the one that pleaseth me + best, I will take her for my Queen. + + [_All bow._] + + + SCENE II + + PLACE: At Shushan, the palace. + + CHARACTERS: King Ahasuerus, Mordecai, Maidens, Haman, + Servants, Courtiers. + + [_Two servants are standing in the court room of the + palace. Enter a messenger followed by_ ESTHER _and_ + MORDECAI.] + + _Messenger_ [_announces to the servants in the room_]: This + maiden has come to see the King. + + [_He goes out._] + + _First Servant:_ This is the place. Wait thou here. [_To_ + MORDECAI]: What art thou here for? Thou wilt have to depart. + + _Mordecai:_ I only brought this maiden. I beg of thee let me + have a few words with her; then I will withdraw. + + _First Servant:_ Speak then quickly, before the King cometh. + + [_Servants withdraw to another part of the room._] + + [Illustration: FIG. 3.--Esther and Mordecai] + + _Mordecai_ [_taking_ ESTHER'S _hand_]: Esther, my child, + thou art like my very child, for although I am but thy uncle + I have been as a father to thee. I bid thee farewell now, + for it seemeth to me that the King will surely choose thee + to be his Queen--thou art so fair. This one thing remember, + tell him not that thou art a Jewess. Fare thee well, Esther! + May the Lord bless thee! + + _Esther:_ Farewell to thee, Mordecai! + + [MORDECAI _goes out. Other maidens come in announced by + the messenger._] + + _Messenger:_ These maidens would see the King. + + [_The servants show them where to sit. Enter second + messenger._] + + _Second Messenger:_ The King! The King! + + [_Enter_ KING _and_ HAMAN. KING _sits on his throne._] + + Second Servant [_bowing before the_ KING]: O King, the + maidens from all parts of the country have arrived and await + thy pleasure. + + _King:_ Let them come before my presence one at a time, and + I will choose from among them the one that seemeth most + fair. + + [_The musicians begin playing and, one by one, the + maidens come out. They bow and dance._ ESTHER _comes + last of all. As_ ESTHER _dances the_ KING _speaks._] + + _King:_ What marvelous beauty! Surely this maiden is fair + enough to be my Queen. + + _Haman:_ Yea, O King, thou art right; she should be thy + Queen. + + _King_ [_takes_ ESTHER'S _hand_]: What is thy name, fair + maid? + + _Esther:_ My name is Esther, O King. + + _King:_ Esther, I do here take thee to be my Queen. Bring + the royal crown and the Queen's robes! + + [_Servants come immediately and put them on her._] + + [Illustration: FIG. 4.--Esther dances before the king] + + _King_ [_leading_ ESTHER _out_]: Come unto the wedding feast + which is now prepared. All are welcome! + + + SCENE III + + PLACE: The palace gate. + + CHARACTERS: Haman, Mordecai, Servants, Esther. + + [_Servants are standing and walking by the gate. Women + come by carrying water jars._ MORDECAI _stands apart + from the crowd._ HERALD _comes in._] + + _Herald:_ Bow the knee, bow the knee. The chief counselor, + Haman, approacheth! Thus saith the King. + + [HAMAN _comes in. All bow to him except_ MORDECAI.] + + _Haman_ [_pointing to_ MORDECAI]: Who is this man who doth + not bow the knee to me? + + _First Servant:_ He is Mordecai, the Jew, my lord. [_To_ + MORDECAI]: Why dost thou break the King's commandment? + + _Haman:_ Thou Jew! Dost thou think that thou art mightier + than I, whom the King hath set above all the princes of the + land? Thou shalt suffer for this. [_Turns to servant._] Send + letters unto all the King's provinces, to destroy, to kill, + and to cause to perish all Jews, both young and old, little + children and women, in one day--even upon the thirteenth day + of the twelfth month, and to take the spoil of them for + prey. + + [_Servant bows and goes away._ HAMAN _passes on, + leaving_ MORDECAI _with two servants._ MORDECAI, _in + deep thought, walks anxiously up and down._] + + _Mordecai:_ I must see Queen Esther. Canst thou not take me + to the Queen? + + _Second Servant_ [_laughing scornfully_]: Thinkest thou that + the Queen will see thee? + + _Mordecai:_ Give the Queen this paper and say to her that I, + Mordecai, the Jew, bid her come to me. + + [_Servant withdraws._] + + _Mordecai_ [_walking, talks to himself_]: Israel, O Israel, + my people! You shall not perish. Esther, your Queen, will + save you. + + [_Enter_ ESTHER.] + + _Esther:_ Mordecai, my uncle, why art thou here? Thou + lookest unhappy. Hath aught happened to thee? + + _Mordecai:_ Yea, Esther, I am unhappy. I have sorrowful news + to tell thee. + + _Esther:_ Chamberlains, withdraw! Speak, Mordecai; tell me + quickly. It may be that I can help thee. + + _Mordecai:_ Esther, thou canst help me, and thou art the + only one who can. Haman, the King's counselor, hateth the + Jews--thy people and mine. He hath sent a decree over all + the country commanding that every Jew, both old and young, + little children and women, be killed on the thirteenth day + of the twelfth month. Esther, thou must save thy people and + thyself? Thou must go before the King and beg of him that he + spare thy people. + + [ESTHER _shows great distress._] + + _Esther:_ Oh, what shall I do? Dost thou not know that for + one who dareth to go before the presence of the King, if the + King hath not called him, there is certain death; except to + whom the King shall hold out the golden scepter--he may + live? I have not been called to come in unto the King these + thirty days. He will surely put me to death for such + boldness. + + _Mordecai:_ Thou must go unto the King even so. Think not + that thou wilt escape death from Haman because thou art in + the King's house. Who knoweth but that thou hast been made + Queen for such a time as this! + + _Esther_ [_after thinking deeply_]: Go, gather together all + the Jews that are present in Shushan, and fast ye for me, + and neither eat nor drink for three days, night or day, I + also and my maidens will fast likewise--and so I will go in + unto the King, which is not according to the law, and if I + perish, I perish. + + _Mordecai:_ May the Lord go with thee! + + + SCENE IV + + PLACE: In the court of the King's palace. + + CHARACTERS: King Ahasuerus, Esther, Haman, Courtiers, + Servants. + + [_The King sits on his throne._ QUEEN ESTHER _enters + and bows before the_ KING. _The_ KING _looks at her in + astonishment._] + + _Courtiers_ [_in loud whispers_]: The Queen! It is the + Queen! + + _King:_ Esther, hast thou dared to come before my presence + when I have not called thee? Thou surely dost not know what + thou art doing! This act of boldness can mean thy death! But + thou art so beautiful, Esther, I cannot be hard with thee. + Rise! [_He holds out the golden scepter._] What is the + request that has brought thee here? It shall be given thee, + even though it be half of my kingdom. + + [ESTHER _touches the scepter and rises._] + + _Esther:_ If it seemeth good unto the King, let the King and + Haman come this day unto the banquet that I have prepared + for them. + + [_She turns and goes out._] + + _King:_ Hearest thou, Haman? Make haste and let us do as + Esther hath said. Come, we will prepare for this banquet. + + [HAMAN _bows. The_ KING _and_ HAMAN _go out. Others + follow._] + + [Illustration: FIG. 5.--The king holds out the scepter to + Esther] + + + SCENE V + + PLACE: The Queen's apartment. + + CHARACTERS: Queen Esther, King Ahasuerus, Haman, + Servants, Mordecai. + + [_The servants are preparing the feast. Enter_ ESTHER.] + + _Esther:_ See ye that the feast is in readiness, for the + King will soon arrive. + + [_Servants bow._] + + _Servant:_ The King cometh! + + _Esther_ [_going to meet the_ KING _as he enters_]: Welcome, + my lord! + + [_The_ KING _sits upon a throne prepared for him._] + + _King:_ I am happy to be with thee, my fair Queen. Thou must + have a request which thou desirest to make--speak, be not + afraid. I will grant it though it be half of my kingdom. + + _Esther:_ If I have found favor in thy sight, O King, and if + it please the King, let my life be saved and the lives of my + people--the Hebrew people. We are to be destroyed, to be + slain and to perish. + + _King:_ Thy people? The Hebrew people? Who is this and where + is he that dareth in his heart to do this thing to thy + people? + + _Esther:_ The enemy is thy chief counselor, this wicked + Haman. + + _King:_ Did Haman do this deed? How didst thou know of his + plan? + + _Esther:_ O King, Mordecai, the Jew, my uncle, hath shown me + the letter which Haman hath sent over the country. The Jews + are to be killed on the thirteenth day of the twelfth month. + I am begging thee for my life and for the lives of my + people! + + [Illustration: FIG. 6.--Queen Esther pleads for her people] + + _King:_ Fear not, Esther; thy people shall be saved. + Mordecai, the Jew, hath once done me a great service. He + hath not been rewarded for this. He shall have honor, for he + deserveth it. + + _Servant:_ The great Haman hath come, O Queen. + + [HAMAN _enters; they seat themselves, and the feast is + served._] + + _King:_ Haman, what shall be done unto the man whom the King + delighteth to honor? + + _Haman_ [_aside_]: Whom would the King like to honor more + than myself? [_To the_ KING]: For the man whom the King + delighteth to honor, let the royal apparel be brought which + the King useth to wear, and the horse which the King rideth + upon, and the royal crown which is set upon his head; and + let these be given the man whom the King delighteth to + honor; and let him ride on horseback through the streets of + the city; and proclaim before him, "Thus it shall be done + unto the man whom the King delighteth to honor!" + + _King:_ Make haste and take the royal apparel and the horse + as thou hast said and do even so unto Mordecai, the Jew, + that sitteth at the King's gate. Let nothing fail of all + that thou hast spoken. + + [HAMAN _bows his head low and goes out to_ MORDECAI.] + + _Servant:_ O King, Haman hath built a gallows upon which to + hang Mordecai, the Jew, this day. + + [HAMAN _returns with_ MORDECAI _and puts on the crown, + etc._] + + _King:_ Let him who hath made the gallows hang upon it! + + [_Servant takes_ HAMAN _out._] + + _King:_ Come near, Mordecai. Thou hast found great favor in + mine eyes. From henceforth thou shalt be my chief counselor, + and thou shalt rule the land in Haman's place. Thy people + shall be spared, and letters shall be sent over all the + land and into every province which shall state that the + Hebrew people shall not be destroyed, but instead they shall + be honored and have joy and feasting. + + _Mordecai:_ I thank thee, O King and Esther, my Queen, for + the great deliverance and for this great honor to me. May + the Lord give me strength to deal wisely with these peoples. + + _Esther:_ This is a great happiness which thou hast bestowed + upon me, O King. + + + + +CHAPTER VIII + +THE DRAMATIZATION OF _ABRAHAM AND THE THREE GUESTS_ + + +This incident should be simplified and adapted before it is told to +children. The dramatization is best worked out in the form of a short, +free play which involves only one act. It is unnecessary to carry it to +the point of fixed words and actions. The emphasis should be placed +upon the customs of the times which are so well brought out in the +story; for example, the hospitality of Abraham to the strangers +represents the feeling toward strangers among the nomad peoples, and +the manner in which he showed his hospitality makes children acquainted +with customs peculiar to those people. There is excellent opportunity +here for enriching the children's understanding of the life of a +shepherd people, of which the Israelites are an example. + +Descriptions and pictures of the kind of tent the people lived in are +necessary. It is important that children should get the idea of the +correct shape of the Arab tent and not confuse it with the Indian +wigwam. No stage scenery need be used; it is best to leave that to the +imagination. A curtain may be put up to represent the front of the +tent, but nothing more. + +There is much of this incident that should be left out in the telling; +by no means should it be read directly from the Bible to children. The +story may be told so that the following points are emphasized: + +Abraham is sitting at the door of his tent. Three men appear; he runs +to meet them and bows to the ground. He invites them to rest under the +shade of the tree and offers to get food and to have their feet washed. +The strangers sit and talk together, then Abraham comes with the food. +They all eat and are rested, and as they rise to depart they ask for +Sarah, Abraham's wife. The strangers tell Sarah and Abraham that they +are to have a son whose name shall be Isaac and whom God shall bless +and who shall be the father of many people. Abraham and Sarah are +greatly astonished and pleased. They fall upon their knees to thank +God, and when they arise they find that the strangers have departed. +The scene closes with their exclamation, "Surely these were angels from +the Lord who have visited us!" + +This story was dramatized by the children of the dramatic club after +they had had experience with many other dramatizations. During the +first hour after the story was told the children succeeded in getting +the play into very nearly its final form. Two of the older girls, +undertaking to write out the scenes as they thought they should be, +brought in their versions at the second meeting. Each one was read +aloud, the other children being asked to remember the parts that seemed +especially good. Then by combining, adding to, or taking from, a +composite result was obtained. Several children wrote down the final +decisions at the dictation of the group. + +Below is given the version which one child worked out by herself, and +following that is the final form of the play which the group as a whole +decided upon. The leader purposely left this play entirely in the hands +of the children; the product is wholly their own. + + + THE PLAY EXACTLY AS ONE CHILD WROTE IT + + _Abraham:_ The day is hot and I am weary. I will rest myself + from the heat of the day. [_He seats himself in the shade of + the tent._] + + _Sarah:_ It is indeed hot, and I will bring thee food and + drink that thou mayest refresh thyself. [SARAH _retires into + the tent._] + + _Abraham_ [_rises to his feet and shades his eyes with his + hands_]: Sarah, come hither! Yonder are strangers who are in + need of rest. [SARAH _comes out, and she and_ ABRAHAM _kneel + before them._] Welcome, strangers, seat yourselves that ye + may rest. My wife, Sarah, will bring you food, and water + that you may wash your feet. + + _First Stranger:_ The Lord bless thee, Abraham. [_Sarah_ + _and the servants withdraw, and_ ABRAHAM _and the three men + seat themselves before the tent._ SARAH _returns with water + and food. The strangers wash their feet and eat._] + + _Sarah_ [_offering them food_]: Drink thou this fresh milk, + and refresh thyself with this fruit, for ye look weary. + [_They finish eating and_ SARAH _and the servants retire._] + + _Second Stranger:_ We bring thee good tidings and would + speak with thee and thy wife. [SARAH _comes from within the + tent._] + + _Third Stranger:_ We are messengers from the Lord to tell + thee that thou wilt have a son. + + _First Stranger:_ He will be the father of many men and + thousands will respect him. Ye shall name him ISAAC. + + _Sarah:_ That cannot come to pass! For many years I have + been childless, and the Lord will not give me a son. + + _Abraham_ [_falling on his knees_]: Thanks be to the Lord! A + son at last! + + _Sarah:_ Can it be that these tidings are true? If so, it is + indeed a message from the Lord! [_She too falls on her knees + before them. The three men quietly leave, and when_ SARAH + _and_ ABRAHAM _rise to their feet they are out of sight._] + + _Abraham:_ They were angels from heaven! Our wish has been + granted at last! + + END + + +The following is the play as it was finally presented: + + + ABRAHAM AND THE THREE GUESTS + + PLACE: In front of the tent of Abraham. + + CHARACTERS: Abraham, a Shepherd; Sarah, His Wife; Three + Strangers; Four Servants. + + [ABRAHAM _and_ SARAH _come out of the tent._] + + _Abraham:_ The day is hot, and I am weary; I will sit down + and rest in the shade of this tree. + + _Sarah:_ Yea, it is hot. I will bring thee drink and food + that thou mayest refresh thyself, my good husband. + + [SARAH _goes into the tent._ ABRAHAM _sees three + strangers approaching. He stands up, shades his eyes + with his hands, and looks out over the desert. He calls + to_ SARAH.] + + [Illustration: FIG. 7.--The three guests bless Abraham and + Sarah] + + _Abraham:_ Sarah, my wife, come hither! Lo, I see three + strangers approaching over the desert. + + [SARAH _comes out of the tent and looks also._] + + SARAH: They will be weary and in need of rest. I will hasten + and prepare food and drink for them also. + + [SARAH _goes away._ ABRAHAM _rises to meet the strangers: + he falls on the ground before them._] + + _Abraham:_ Welcome, strangers, to the tent of Abraham! If I + have found favor in thy sight, pass not away, I pray thee! + Let now a little water be fetched and wash your feet, and + rest yourselves under the tree; and I will fetch a morsel of + bread, and this will strengthen your hearts; after that ye + shall pass on. + + _The Three Strangers:_ So do as thou hast said, good + Abraham. + + [ABRAHAM _turns to the servants who are standing near._] + + _Abraham:_ Haste ye, bring water; fetch a calf, tender and + good. [_Servants hasten away._] [_To the strangers_]: Sarah, + my wife, will make ready three measures of fine meal and + knead it into cakes. + + _First Stranger:_ Our host, Abraham, is a true servant of + the Lord. + + _Second Stranger:_ We are indeed weary; we have journeyed + far across the desert. + + [_Servants appear with water and food._ SARAH _also + brings food to them._] + + _Sarah:_ Drink thou this fresh milk, and refresh thyself + with these dates, for ye look weary. + + _Third Stranger:_ This is indeed a rest. + + [SARAH _goes into the tent and the strangers finish + eating. The strangers rise to go._] + + _Abraham:_ Tarry yet awhile with us. + + _First Stranger:_ We thank thee, good Abraham, but we must + be on our way. + + _Second Stranger:_ We would speak with thee and thy wife, + Sarah. Where is thy wife? + + _Abraham:_ Sarah, come hither. + + [SARAH _appears._] + + _Third Stranger:_ We bring you a message from the Lord. You + shall have a son, and his name shall be Isaac. He shall be + the father of many men, and thousands shall respect him. + + _Sarah:_ Surely, this cannot come to pass! + + _Abraham:_ Thanks be to God for this great gift! + + [SARAH _and_ ABRAHAM _fall down on their knees before + the strangers. The strangers stretch out their hands to + bless them._] + + _Three Strangers:_ The Lord will bless you, Sarah and + Abraham! + + [_The strangers depart._ ABRAHAM _and_ SARAH _arise._] + + _Abraham and Sarah:_ Surely these were angels from the Lord! + + END + +As this play was very short, the suggestion was made that we might +lengthen the program, as well as make it more interesting, by having +some of the children tell the audience just how we worked up the +dramatization. The two older girls undertook this and decided entirely +by themselves just what they would say. One of them wrote with great +care a description of the method of procedure. She read it to the club +for approval, then she learned it by heart and gave it in an +interesting manner to the audience on the day the play was given. The +other girl wrote a poem about it, and recited it just before the play +was given. The description and poem are as follows: + + + THE INTRODUCTION + + BY MARGARET MILLER + + + The play which the children are now going to give--_Abraham + and the Three Guests_--has been worked out and practiced at + the dramatic club. This club meets every Sunday afternoon + from three until four o'clock, and is composed of any of the + children of the Sunday school who wish to belong. + + The first Sunday Miss Miller told the story to the members, + and then they, knowing it, acted it out, making up the parts + as they went along. This they did several times until they + knew the story perfectly. + + The two oldest girls did not take part in the acting of the + play, but became assistants and helped Miss Miller direct + it. During the next week the assistants wrote out the + speeches very much as the children had made them up. These + were read before the club and discussed, and after a number + of suggestions had been added by all the children present + the scene was finally written as it now is. + + The children each took home a part to learn, and the + following Sunday they all tried the different speeches. + Before the final characters were chosen each child was able + to represent any one of them. The final characters were + decided upon by the group and were chosen according to their + preferences and their ability to enact the different parts. + + Unfortunately, most of the costumes which the club had on + hand were much too small for the children this year. We + therefore held a sewing-bee during the week, and lengthened + the old ones or made new ones where we found it necessary. + + We have worked on this play for five meetings, which + represents altogether five hours, except for a little work + that the assistants did outside. + + We have had much fun with this play, and we are hoping that + you will enjoy it too. + + + POEM + + BY MELBA PYLE + + Before you soon you shall see + The story of _Abraham and the Strangers Three._ + The partakers, they have worked; + The assistants, they have shirked-- + But not as much as you would think, + For they have helped to join each link. + As day by day passed quickly away + We read the Bible and wrote the play. + Each child helped as best he could, + And thus we worked in brotherhood. + Word with word we did neatly join, + Then home we went, our parts to learn, + Next to the box where the costumes lay, + And straight to sewing and not to play. + And 'tis our happy aim, you see, + To make you joyous as can be! + + + + +CHAPTER IX + +THE DRAMATIZATION OF _DANIEL IN THE LIONS' DEN_ + + +The story of _Daniel in the Lions' Den_ was dramatized by the members +of the club according to the same methods as those which were used in +connection with the story of _Abraham and the Three Guests._ + +This play is given here in order to show how a story which deals with a +miraculous event may be treated. When Daniel was thrust into the den of +lions, he was in reality put out of the door which opens at the side of +the stage. The children readily came to the decision that it was +unnecessary to show Daniel actually in the den of lions on the stage. +In telling the story no explanation was made or asked for concerning +the miracle which happened. The children accepted it and enjoyed it as +they would any other good story. + +The final play which follows represents entirely the children's +interpretation; the product is their own. + + + DANIEL IN THE LIONS' DEN + + + SCENE I + + PLACE: The court room of King Darius. + + CHARACTERS: King Darius, Daniel, Four Conspirators, + Soldiers, Servants. + + [KING DARIUS _is seated on his throne. Soldiers and + attendants stand nearby. The conspirators are talking + together at one side._ DANIEL, _followed by two + soldiers, comes in and kneels before the_ KING.] + + _Daniel:_ King Darius, live forever! + + _King Darius:_ Good Daniel, I have sent for thee that thou + mayest know my will. It has pleased me to set over my + kingdom one hundred and twenty princes, and over these + princes have I set three rulers. Thou hast been so faithful + and true that I wish to make thee the first of these three + rulers. Thou shalt have great responsibility, and thou shalt + report to me when thou thinkest it well to do so. + + _Daniel:_ Thou art kind and gracious unto me, O King! May + the Lord, Jehovah, help me to do this. + + _King Darius:_ Come unto the feast, Daniel, and have the + royal robe placed on thee. + + [DANIEL _bows to the_ KING _and they both go out, + followed by the soldiers and servants._] + + [_The conspirators are left alone in the room. They + show great anger and begin talking to each other._] + + _First Conspirator:_ See how this Daniel has found favor in + the King's sight! He is not of our country, he belongs to + the Hebrew people; but the King has appointed him over us + all! We must destroy this Daniel. + + _Second Conspirator:_ Yea, thou art right. What can we do? + + [_They all walk back and forth in deep thought._] + + _Third Conspirator:_ I can think of nothing against him! + + _Fourth Conspirator:_ Thou sayest the truth; he hath no + fault. He is faithful and doth nothing wrong. + + _First Conspirator:_ I can think of nothing, save that we + find it against him concerning his God. + + _Fourth Conspirator:_ Ah, that is true; Daniel worshipeth a + different God; I have seen him praying thrice in one day. + + _Second Conspirator:_ Let us influence the King to make a + firm decree that whosoever shall worship any God or man, + save the King, for thirty days, he shall be cast into the + den of lions. + + _Third Conspirator:_ That soundeth well! If Daniel be + faithful to his God, he will surely disobey this decree; and + if the King once signeth it, the law of the Medes and the + Persians saith that it cannot be altered. + + _First Conspirator:_ Ah, this will surely be Daniel's ruin + now! + + _Fourth Conspirator:_ Come, let us hasten to the King and + have him establish and sign this decree. He will be pleased; + he will not think of Daniel. + + _Third Conspirator:_ Yea, we will hasten before the setting + of the sun. + + + SCENE II + + PLACE: The same as in scene i. + + CHARACTERS: The same as in scene i. + + TIME: Several days after the events in scene i. + + [_The_ KING _is seated on his throne. The four + conspirators come before the_ KING _and kneel._] + + _The Conspirators:_ Great King Darius, live forever! + + _King Darius:_ Arise, my friends! + + _First Conspirator:_ O King, hast thou not signed a decree + that he who shall pray to any God or man within thirty days, + save to thee, shall be cast into the den of lions? + + _King Darius:_ This thing is true, according to the law of + the Medes and Persians, which altereth not. + + _Second Conspirator:_ A man in thy kingdom regardeth not + this law, and doth pray to his God three times a day--we + have seen him! + + _King_ [_with anger_]: Who is this man that breaketh my + laws? + + _First Conspirator:_ He is Daniel, whom thou hast favored + and made ruler! + + _King Darius_ [_with surprise and sadness_]: Daniel! It + cannot be! Daniel must not die, for I love him. + + _Third Conspirator:_ Thou knowest, O King, that the law of + the Medes and Persians is that no decree which the King + establisheth may be changed. + + _King_ [_sadly_]: Thou sayest truly; the King's word may not + be broken. Bring Daniel hither. + + [_Soldiers go for_ DANIEL. _The_ KING _walks back and + forth in great distress._] + + _King_ [_talking to himself_]: Oh, I would that this had not + happened! + + [DANIEL _appears and bows before the_ KING.] + + _King:_ Why hast thou disobeyed my law, Daniel? Wherefore + didst thou pray to thy God when thou knewest of my decree? + + _Daniel:_ Great King Darius, my God, the God to whom I pray, + is the true God, and I shall worship no other. Do with me + what thou wilt. + + _King:_ Daniel, I would that thou hadst not done this thing, + for I love thee. Thou art a brave and bold man! Thy God whom + thou servest continually, he will deliver thee! [_To the + soldiers_]: Take this man from me; cast him into the den of + lions. + + [_Soldiers take_ DANIEL _and thrust him into the den. + The door is closed, and the_ KING _seals it with his + signet. The_ KING _and attendants withdraw. The + conspirators are alone._] + + _First Conspirator:_ Daniel has fallen at last! No longer + will he be the King's favorite! + + _Fourth Conspirator:_ We, instead, will be the favored ones! + + [_They leave the room in high spirits._] + + + SCENE III + + PLACE: The same as in scene i. + + CHARACTERS: The same as in scene i. + + TIME: The next morning after the events in scene ii. + + [_The_ KING _hastens to the door of the lions' den._] + + _King_ [_calling eagerly_]: O Daniel, servant of the living + God, is thy God, whom thou servest continually, able to + deliver thee from the lions? + + _Daniel_ [_from within_]: O King, live forever! My God hath + sent his angel and hath shut the lions' mouths, and they + have not hurt me, for the Lord knoweth that I have done no + wrong, either before him or thee, O King! + + _King_ [_to servants who have followed him into the room_]: + Come hither, servants! Quickly bring Daniel out that I may + see him! + + [_The door is opened, and_ DANIEL _comes out. The_ KING + _shows great joy in greeting him._] + + _King:_ Thy God is truly the living God! Bring forth the men + that have done Daniel this wrong. Cast them into the lions' + den. + + [_The conspirators are standing in the room, looking + at_ DANIEL _in astonishment. The soldiers seize them + and push them down into the den. As they go they cry + to the_ KING.] + + _Conspirators:_ O King, spare us! + + _King:_ I will now sign a decree that in every dominion of + my kingdom men shall bow before the God of Daniel, for he is + the only true God. He delivereth and rescueth and worketh + great wonders; he hath saved Daniel from the power of the + lions. + + _Daniel:_ The Lord God will surely bless thee for this good + thing! + + END + + + + +CHAPTER X + +THE DRAMATIZATION OF NEW TESTAMENT PARABLES + + +Many of the New Testament parables present interesting problems for +dramatization. The selection should be limited to those which involve +dramatic situations and unity of structure. The simplicity and +conciseness of words and actions in many of the parables are qualities +which call forth a ready and free response from children. + +Among the parables which have been worked out by the dramatic club are +_The Good Samaritan_, _The Wise and Foolish Virgins_, _The Great +Supper_, _The Talents_, _The Prodigal Son._ + +In the case of these short parables the story was not told first, but +the parable was read to the children directly from the Bible. There was +no discussion as to the truths supposed to be taught, the emphasis +being placed entirely upon the story element involved. The customs of +the times and the division of the story into scenes were discussed as +fully as was done with other stories. Usually one or two meetings were +all that were necessary for working one of these parables into dramatic +form. When it was completed, the result was not a finished product, as +the words and action had been interpreted with slight variations each +time. The children learned the story by heart, as it is given in the +Bible. This influenced their words when they were dramatizing. + +Several parables were given together at the meeting when parents and +friends were invited. One child recited the Bible version just before +the play was given. This feature added interest and dignity to the +occasion. + +The parables were given in the following order: + + + THE WISE AND FOOLISH VIRGINS + + [_Ten virgins with their lamps are waiting for the + bridegroom._] + + _First Virgin:_ The bridegroom tarries; let us rest here + awhile. + + _Other Virgins:_ Yea, let us rest. + + [_They all sit down and go to sleep._] + + _A Cry Without:_ Behold, the bridegroom cometh! Go ye out to + meet him! + + [_All the virgins get up hurriedly. The five wise ones, + with oil in their lamps, stand in readiness. The five + foolish ones are in great confusion._] + + _First Foolish Virgin:_ We have no oil! Our lamps are gone + out! + + _Second Foolish Virgin_ [_speaking to the five wise + virgins_]: Give us of your oil--we have none. + + _First Wise Virgin:_ Not so, lest there be not enough for + ourselves and for you. But go ye rather to them that sell, + and buy for yourselves. + + [_The foolish virgins hasten away._] + + _A Cry Without:_ Behold, the bridegroom cometh! Go ye out to + meet him! + + [_The_ BRIDEGROOM _comes in, followed by a few + attendants. He walks by, and the five wise virgins + follow him. They go in a door which is closed after + them. The foolish virgins come hurriedly back and rush + to the door. They beat on it and call out several + times._] + + _Foolish Virgins:_ Lord, Lord, open unto us! + + [_The door opens and the_ BRIDEGROOM _stands there._] + + _Bridegroom:_ Depart, I know you not! + + END + +During the work on this play the question arose as to the kind of lamps +that were used at the time of the story. The children looked up +pictures and descriptions, and from these they made themselves lamps +out of plasticene or clay. Fig. 8 is a photograph of one of the scenes +taken out of doors. The lamps can be seen, also the simple costumes +which the children worked out. + + + THE GREAT SUPPER + + [_The_ MASTER _of the feast stands in his door and + speaks to his servant._] + + _The Master:_ Go, bid my friends come to the supper, for all + things are now ready! + + [_The servant bows; the_ MASTER _goes into the house. + The servant walks down the street, and as he meets + people he delivers his_ MASTER'S _message._] + + _Servant_ [_to the men as they come by_]: My Master bids + thee come to his feast, for all things are now ready! + + [Illustration: FIG. 8.--The wise and foolish virgins] + + _First Man:_ Say to thy Master that I have bought a piece of + land and must needs go and see it. I pray thee have me + excused. + + [_The servant bows and the man passes on. The servant + delivers the message to the second man._] + + _Second Man:_ I have bought five yoke of oxen; I must go to + prove them. I pray thee have me excused. + + _Third Man:_ I have married a wife, and therefore I cannot + come. + + [_The servant goes back to his_ MASTER'S _house; the_ + MASTER _comes out to meet him._] + + _Servant_ [_falls on his knees before his_ MASTER]: O sir, I + did as thou commandedst, but one by one they made excuse, + and would not come to thy supper. One man had just bought a + piece of land and must go to see it; another had bought five + yoke of oxen, and was on his way to prove them; and another + had just married a wife. All begged that thou excuse them. + + _Master_ [_shows great anger_]: What! They that are bidden + refuse to come to my feast! Go out quickly into the streets + and lanes of the city, and bring in hither the maimed, and + the halt, and the blind! + + [_The_ MASTER _goes into his house, and the servant + again walks down the street._] + + _Servant_ [_as he meets the lame, the halt, and the blind_]: + Come! My Master invites you to a great supper, which is now + prepared at his house! + + [_Each person, or group of persons, bows and thanks him + with such remarks as_]-- + + _Maimed, Halt, Blind:_ We thank thee; we will be there. We + gladly accept this invitation. + + [_The_ MASTER _stands in the door to receive his guests + as they come. When they are all in, the servant comes + back to his_ MASTER.] + + _Servant:_ Lord, it is done as thou hast commanded, and yet + there is room. + + _Master:_ Go out into the highways and hedges, and compel + them to come in, that my house may be filled. For I say unto + you that none of those men that were bidden shall taste of + my supper! + + [_The servant bows_; _the_ MASTER _goes in._] + + END + + + THE GOOD SAMARITAN + + + SCENE I + + PLACE: The road from Jerusalem to Jericho. + + CHARACTERS: A Traveler, Thieves, a Priest, a Levite, a + Samaritan. + + [_A man comes along the road carrying his bundle over + his back. Many thieves rush out from ambush and attack + him. Some knock him down and rob him, while others are + looking anxiously up and down the road. After beating + and cutting the man they go off, thinking that he is + dead._ + + _As the traveler lies groaning and begging for water, a + priest comes along the road, but when he sees the man he + passes by on the other side of the road. Also a Levite + comes along, and after looking at the man passes by on + the other side of the road._ + + _Then a Samaritan comes along, and as soon as he hears + the groans he hastens over to the man. He kneels down + and looks at him and speaks._] + + _Good Samaritan:_ What is this--a man! Hast thou been hurt, + my friend? + + _Man:_ Oh, help me! Thieves fell upon me and took all I had, + and have left me here to die. + + [Illustration: FIG. 9.--The Good Samaritan] + + _Good Samaritan:_ I will help thee, my good friend; thy + wounds shall be bound. Drink this wine. It may help thee. + Art thou able to get on this beast of mine? I will take thee + to the inn where thou wilt be cared for. [_He helps the man + to rise and supports him as he hobbles off. They both go + out._] + + + SCENE II + + PLACE: The Inn. + + CHARACTERS: The Samaritan, the Traveler, the Innkeeper. + + [_The_ GOOD SAMARITAN _brings the man to the door of + the inn and knocks. The_ INNKEEPER, _appears._] + + _Innkeeper:_ Good day, sir. + + _Good Samaritan:_ Here is a wounded man. Take care of him. + Here is money, and whatsoever thou spendest more, when I + come again I will repay thee. [_He gives the_ INNKEEPER + _some money. The_ INNKEEPER _takes the man._] + + _Traveler_ [_to_ GOOD SAMARITAN]: God bless you, my friend! + + END + + + THE PRODIGAL SON + + + ACT I + + PLACE: In the father's home. + + CHARACTERS: The Younger Brother, the Father, the Elder + Brother, Servants. + + [_The_ FATHER _and_ ELDER SON _come into the room + together. The_ YOUNGER SON _comes in from another door._] + + _Younger Son:_ Father, give me the portion of goods that + falleth unto me. I am weary of living at home. I will go + into some far country and make my fortune. + + _Father:_ My son, why is it that thou desirest this? Hast + thou not everything at home? + + _Younger Son:_ Yea, father, but I beg of thee to divide thy + living between us. I must have my share. + + _Father:_ Thou art very foolish; nevertheless I will do as + thou askest. [_To servant_]: Bring my money bags. [_To_ + ELDER SON]: And dost thou intend to take thy living also, + and leave thy father? + + _Elder Son:_ Nay, father, I am fully content to live with + thee; I do not want my portion. + + [_Servant returns with money bags._ FATHER _gives money + to his younger son._] + + _Father:_ This is thy share--use it wisely. + + _Younger Son:_ I thank thee, father. I shall become a rich + man with this; but now I must leave thee; I can stay here no + longer. + + _Father:_ This grieves me, my son, for I know that thou art + foolish--but go and learn thy lesson. + + [_He stretches out his hands toward his son as if + blessing him._] + + ACT II + + + SCENE I + + PLACE: Along the roadside in a distant country. + + CHARACTERS: The Prodigal Son, a Farmer. + + [_The_ PRODIGAL SON _comes down the road, tired and + hungry. He sits on a rock and talks._] + + _Prodigal Son:_ Would that I had something to eat! My money + is all spent, and there is famine in the land. What shall I + do? I am sick, and feel that I may soon die. If I could but + find something to do that I might get a little food. + + [_A man comes along. The_ PRODIGAL SON _goes toward him + and falls down before him._] + + _Prodigal Son:_ O sir, I am starving unto death. Wilt thou + give me any task to do that I may make enough to keep me + alive? + + _Man:_ I have no work to be done--unless it be to take care + of my swine. Thou wilt find them in yon field; they need a + keeper. + + _Prodigal Son:_ I will gladly do this. + + [_He goes off joyfully._] + + + SCENE II + + PLACE: In the field with the swine. + + CHARACTER: The Prodigal Son. + + [_The_ PRODIGAL SON _comes in driving the pigs. He sits + down._] + + _Prodigal Son:_ How horrible is this life; I am dying of + hunger. No man will give me anything--all I get to eat is + the food that I give the pigs. Oh, I wish that I had never + left home! How many hired servants of my father's have bread + enough and to spare, and I perish with hunger! I will arise + and go to my father, and will say unto him, "Father, I have + sinned against heaven and before thee, and am no more worthy + to be called thy son; make me as one of thy hired servants." + + [_He rises and goes away hurriedly._] + + + ACT III + + + SCENE I + + PLACE: In front of the father's home. + + CHARACTERS: The Father, the Prodigal Son, the Servants. + + [_The_ FATHER _stands looking for his son._] + + _Father:_ It seemeth to me that I see my son coming home! I + knew that he would come! I will go to meet him! [_He meets + him._] It is my son! [_The_ FATHER _shows great joy. The_ + SON _falls on his knees before his father._] + + _Prodigal Son:_ Father, I have sinned against heaven and + before thee, and am no more worthy to be called thy son. + + _Father:_ Bring forth the best robe and put it on him; and + put a ring on his hand, and shoes on his feet; and bring + hither the fatted calf, and kill it, and let us eat and be + merry, for this my son was dead and is alive again; he was + lost and is found! + + + SCENE II + + PLACE: In the field, near the father's house. + + CHARACTERS: Elder Son, Servant, the Father. + + [_The_ ELDER SON _is hoeing in the field. A servant + comes out. The_ ELDER SON _calls to him._] + + _Elder Son:_ I hear music and dancing in the house; what do + these things mean? + + _Servant:_ Thy brother is come; thy father hath killed the + fatted calf, because he hath received him safe and sound. + Thy father sendeth for thee to come in. [_The_ ELDER BROTHER + _shows anger._] + + _Elder Brother:_ I will not go in. Why should he make merry + over my brother who has wasted his living? + + [_The_ FATHER _comes out._] + + _Father:_ My son, wilt thou come unto the feast? Thy lost + brother hath returned! + + _Elder Son:_ Lo, these many years do I serve thee; neither + have I at any time disobeyed thee, yet thou never gavest me + a kid that I might make merry with my friends. But as soon + as thy son was come, which hath wasted thy living, thou hast + killed for him the fatted calf. + + _Father:_ Son, thou art ever with me, and all that I have is + thine. It was meet that we should make merry and be glad, + for this thy brother was dead and is alive again; he was + lost and is found. Come thou in to greet thy brother! + + [_They both go in._] + + END + + + + +CHAPTER XI + +THE DRAMATIC QUALITIES IN A GOOD STORY + + +The stories in the Bible, if taken just as they are given, present a +body of material which is complicated by a historical background and a +religious symbolism that is remote from the young child's experience. +They embody the historical incidents as well as the myths and folklore +of ancient Hebrew life, and for the most part they express the highest +idealism of the Hebrew people. There is no reason, however, why good +stories and appropriate incidents may not be given to children from +this body of material through selecting from and simplifying the +biblical version. A great deal of what is in the Bible should not be +used, but there is much that is highly dramatic and becomes valuable +for dramatization. + +It is possible to adapt an incident by simplifying, and in a measure +reorganizing, the parts, and yet to keep the dignity and integrity of +the story as it is given in the Bible. The attitude of the children, +created by contact with this type of story, should be one of reverence +and dignity, coupled with a consciousness of the high ideals of the +people they are impersonating. + +Before any attempt is made to select parts of the Bible narrative for +dramatization the leader, or director of the children, should have well +in mind standards which will help in making the part that is chosen a +well-organized story. When any good story is analyzed it is found to be +built upon an underlying basic structure. There is always a beginning +or setting; a middle part, where the incidents rise to a climax; and an +end, where the events of the story are satisfactorily worked out. There +should be a feeling of movement straight through the story; the +incidents should develop; there should be action that leads to some +end. A unity must underlie the whole story--there must be no part which +is not essential to the working out of the plan. The end of the story +should give a sense of completeness, of satisfaction. + +It is often the case that the three essential parts of the story call +for three acts when the story is dramatized. In some of our modern +dramas five acts, but in many only three acts, are required in order to +complete the structure. Sometimes, however, all three parts of a story +may be given in a one-act dramatization. Before a story is dramatized +it is very necessary that it be told so clearly that the children are +conscious of these parts; otherwise the resulting drama will lack in +organization. No matter how elaborate or simple the story, the children +should have a feeling for the basic structure, which should guide the +form of the dramatization. + +The leader in charge of a dramatic club in which Bible stories are used +must take the responsibility of changing the Bible version so as to +make an organic unit of the story and yet keep the spirit and big +meaning. There are many parts of the Bible narrative which already +embody this simple organization--or division into related elements--if +all of the heavy, unnecessary incidents are omitted.[1] + +Although the main purpose of these dramatizations is not that an +artistic result be secured, yet that is an important factor, and should +be recognized by both the leader and the children. The product many +times will be necessarily crude and lacking in the aesthetic element, +but nevertheless there should be an attempt, even though gradually, to +train the children toward a recognition and an appreciation of the +artistic qualities of the literary production they put forth, as well +as of the stage groupings and effects. + +Care must be taken that the stories chosen are ethically sound. The +story of Jacob is one that may well be omitted. Jacob deceives, and yet +all the good things in life come to him--he takes them away from those +who rightfully have earned them. This injustice in the story always +raises a question in the minds of the children, and for this reason it +is not a good story. The stories of Samson, Jephthah, Jael, and others +on this order should be eliminated for similar reasons. They are each +based upon attitudes toward society and standards of friendship which +are now outgrown. There are so many simple episodes in the Bible that +can easily be readjusted into well-constructed stories, about which +there can be no question of the moral value, that no time need be +wasted in considering any story about which there is the least +suggestion of an unethical quality when judged by our present-day +standards. + +FOOTNOTES: + +[Footnote 1: As a matter of fact, it is often the later editorial +additions to the simple old stories that have produced the cumbrous +effect. When the original story is recovered, it lends itself much +better to the purpose here discussed. Such a reorganization of the +stories with a preservation of the biblical language has been made in +Soares' _Heroes of Israel_ (The University of Chicago Press), where +also there is much illustrative material interpretative of the +situations.] + + + + +CHAPTER XII + +BIBLE STORIES SUITABLE FOR DRAMATIZATION + + +The stories which have been taken for dramatization in the previous +chapters were not chosen because they are the best ones for that +purpose, but because they represent different kinds of stories and +illustrate the opportunity for various methods of presentation. There +are many other stories and incidents in the Bible which are equal to, +or better than, those described. + +A list of some of these stories is given below, together with a few of +the most essential points which should be considered in dramatizing +each. No attempt is made to give the story in full or to elaborate the +dramatization; the plan for each is merely suggestive. + + +I. SAMUEL + +I SAMUEL, CHAPTERS 2 AND 3 + +The story of Samuel may be worked into a short play of one or two +scenes. The most interesting and dramatic incident is the familiar one +of the Voice Calling Samuel at Night. The first part of the story, +however, is beautiful, and may be used along with this incident. + +In scene i Hannah brings little Samuel to the temple and dedicates him +to the Lord. Eli, the old priest, takes the child to live with him in +the temple so that he may train him to serve the Lord. + +Scene ii takes place several years later. It is night time, and the +child Samuel is sleeping near the old priest, Eli. He thinks he hears a +voice calling him, and he runs to Eli to ask what he wants. Eli has not +called him and tells him to lie down again. Three times he runs to Eli, +thinking that he hears him calling. Then the priest tells him that it +must be the Lord who has spoken and tells Samuel what to say the next +time he is called. Samuel hears the message from the Lord and, upon +Eli's request, tells him what he has heard. Eli realizes that the Lord +has spoken truly, and accepts his fate as just. He praises Samuel and +tells him that he will soon leave the care of the temple and of the +people of Israel to him. + +Neither in this play, nor in any other play, should there be an attempt +to represent the Lord's voice. The child may listen as if he were +hearing someone speaking, and from what he says and does the audience +will be aware of what is happening. For the sake of the result, from an +artistic point of view, such parts as this should always be left to the +imagination, no attempt being made to interpret them literally. + + +2. THE QUEEN OF SHEBA'S VISIT TO SOLOMON + +I KINGS, CHAPTER 10 + +The visit of the Queen of Sheba to Solomon furnishes a unit of work for +a short one-act dramatization. There is no plot or complicated +situation involved and there is very little activity suggested. The +attention of the children may well be directed, however, to the +description of Solomon's court and of the rich gifts which were +exchanged. This is an excellent opportunity to have the children do +construction work. They should make many things which will help to give +the impression of richness to the court. They may also make their own +costumes richer by adding jewels and bright-colored sashes and +headdresses. + +This little dramatization will include many children. A number will be +needed to come in with the Queen of Sheba, and there should be many +attendants upon King Solomon. The conversation will be for the most +part between Solomon and the Queen, heralds and servants making +announcements. + +The play opens with the Queen of Sheba's arrival at the court of +Solomon. Messengers announce her to the King. Solomon talks with the +Queen and she tells him that she admires his great wisdom and his +wealth. Then Solomon commands that the feast be served, and while they +eat the Queen presents her gifts to Solomon. When the Queen takes her +leave Solomon gives her wonderful presents. The play will end with the +exit of the Queen and her attendants. + +Unless the children put much thought upon the stage setting and the +conversation, this incident may prove uninteresting. It has, however, +great possibilities for the working out of a beautiful picture. + + +3. JOSHUA AND THE GIBEONITES + +JOSHUA, CHAPTER 9 + +The story of Joshua and the Gibeonites is so simply told in the Bible +that children of nine or ten years of age can read it as it is given +and dramatize it directly from that version. + +The dramatization of this narrative calls for many characters. The +older children may take the parts of Joshua and the leaders of the +Gibeonites, while the younger ones are needed for Israelite soldiers +and citizens of Gibeon. All the characters in the play will need to do +much acting even though they do not enter into the conversation. + +Although the dramatization should be a product of the children's work, +yet the leader should have well in mind the three main divisions of the +story that she may guide the children by her questions. This story may +be worked into one of the more elaborate productions. The Bible +language should Be used and the result should be full of dignity and +spirit. For detail in the method of presentation compare that employed +in the story of Joseph (chapter iii). + +The story may be given so that the following divisions or scenes are +emphasized: + + SCENE I + + PLACE: At Gibeon. Street scene. + + The inhabitants are discussing the victories of the + Israelites. They are afraid of Joshua, the leader. + Messengers report that he is advancing toward Gibeon. The + Gibeonites plan to make a league with him so that he will + not destroy their city. They decide to deceive Joshua by + dressing as strangers from a far country, wearing old + garments and taking moldy bread and wine. + + SCENE II + + PLACE: Joshua's tent at the camp of Gilgal. + + The men from Gibeon come to Joshua and tell him that they + are from a far country. They say that they have heard of his + great victories and wish to make a league with him. The + conversation between Joshua and these strangers is + interestingly given in the Bible and may be quoted almost + exactly. Joshua makes the treaty with them. + + SCENE III + + PLACE: At Gibeon. + + The Israelite soldiers rush into Gibeon to take it, but find + that the inhabitants are the same ragged strangers with whom + they made the league. The Israelites reproach them, but + cannot go back on their word, so spare their lives. In + order to punish the Gibeonites for their deception, Joshua + makes them slaves of the Israelites. + +There is much opportunity for construction work in the dramatizing of +this story. Costumes, pieces of armor, and weapons may be made in a +simple manner by the children. + + +4. ISAAC AND REBEKAH + +GENESIS, CHAPTER 24 + +The story of Isaac and Rebekah is unusually valuable for dramatization. +It involves a well-worked-out plot which is beautifully and simply told +in the Bible, and which brings the children in contact with many +interesting customs among the shepherd people. The story needs little +changing; it may be given almost as it is written. + +The following outline for the divisions of the story is merely +suggestive: + + ACT I + + SCENE I + + PLACE: Abraham's tent in Canaan. + + Abraham is lying down in his tent. He is talking to Isaac, + his son, about the wife he wishes him to have. He calls a + servant and bids him go to Mesopotamia, his old home, and + bring a wife for Isaac from his own kinsfolk. Abraham makes + the servant swear that he will do as he has been told. + Perhaps Abraham has his hand on Isaac while he is talking, + and Isaac will take some small part in the conversation. + + + ACT II + + SCENE I + + PLACE: Mesopotamia. + + The messenger, with his servants, comes to the well just + outside of the city walls, where the women draw water. There + should be no attempt to represent the camels. These may be + indicated by the conversation and left to the imagination. + The messenger, through praying to God, decides how he shall + know which young woman to choose for Isaac. When Rebekah + comes with her pitcher she offers to give water to him and + to his camels also. The man is sure then that Rebekah is + sent by God, and therefore he arranges to go to her father's + house for the night. + +This scene should be made very picturesque as well as interesting. The +children may look up pictures of the wells of those times and then +construct something that will serve the purpose. Pieces of pottery may +be brought in on the shoulders of the women to represent water jugs. +(Compare with the street scene described in the story of Ruth, chapter +vi.) + + + SCENE II + + PLACE: Rebekah's home. + + In this scene comes the discussion of Rebekah's leaving home + to become the wife of Isaac. The messenger makes known to + the family that it is Abraham, their kinsman, who is sending + for Rebekah. He gives Rebekah the gifts which his master has + sent--earrings, bracelets, and the like. The family finally + decide that Rebekah may go back to Canaan, but they ask the + servant to let her stay with them for ten days longer. He + is unwilling to wait, and the question is therefore put to + Rebekah. She answers that she will go with him now. + + + ACT III + + SCENE I + + PLACE: Canaan. A field near Isaac's home. + + Isaac walks alone in the field at sunset. He is constantly + looking into the distance, and he is wondering when the + messenger will return with a wife for him. At length he sees + the camels approaching and hastens to meet them. This is all + indicated by his soliloquy--no camels must be shown. The + servant and Rebekah have dismounted and come to meet Isaac. + The servant gives Rebekah to Isaac who embraces her and + shows his joy at receiving such a beautiful wife. The play + should end where Isaac turns toward his father's tent with + Rebekah. + +While the children are playing this story there should be much detailed +discussion which will give them an adequate background for +understanding the customs upon which the story is based; and there +should be shown many illustrations which will insure correct mental +pictures. + + +5. ELIJAH AND THE WIDOW'S MEAL + +I KINGS, CHAPTER 17 + +This may be used as a very simple incident of two scenes, or it may be +elaborated into a longer play. + +The first scene is placed by the gate of the city of Zarephath. As +Elijah comes toward the gate he asks a woman, who is gathering sticks, +for a drink of water. She gives him the water and he asks for bread. +The conversation between them brings out the facts that there is famine +in the land, and that the widow has hardly enough meal left in the +house to make bread for herself and for her son. She agrees to divide +with Elijah, however, and takes him into her house. The wording for +this scene may be taken almost directly as it is given in the Bible. + +The second scene is placed in the house of the widow. The woman and her +son are eating with Elijah. From what they say to each other it is +apparent that the meal and oil have lasted for many days, and the three +people have had plenty to eat during the famine. The widow is convinced +that a miracle has been wrought by her guest. She begs him to tell her +who he is. The stranger answers that he is Elijah, the prophet of the +Lord, and that it is through the Lord's care of them that they have had +food enough. The play may well end here with the final speech from the +widow as it is given in the Bible: "Now by this I know that thou art a +man of God, and that the word of the Lord in thy mouth is truth." + +In case the part of the story which gives the raising of the widow's +son is used, a third scene may be added, and the widow's speech would +come at the end of that scene. + + +6. ELISHA AND THE SHUNAMMITE + +II KINGS, CHAPTER 4 + +This incident is similar to the story of Elijah and the widow's meal, +and may be dealt with in the same manner. It should be simplified by +selecting certain parts for dramatization. The emphasis throughout +falls upon the generous qualities of the two characters--Elisha, ever +ready to help others, and the woman, who always kept a room for the +prophet because she admired his goodness. + + +7. DANIEL INTERPRETS THE KING'S DREAM + +DANIEL, CHAPTERS 1 AND 2 + +The stories about Daniel have unusually interesting possibilities for +dramatization. They need very little explanation. They are so vividly +and beautifully told in the Bible that the children will understand +them readily and have no difficulty in interpreting them. A few +historical facts may be given to make the setting clear. The following +divisions are suggested for the first story: + + SCENE I + + King Nebuchadnezzar brings four Israelites into his court in + order to have them trained as councilors. He appoints them a + daily provision of the king's meat and wine. + + + SCENE II + + The King dreams a dream and forgets it. He calls all of his + wise men and demands that they tell him what his dream was + and also interpret it. The wise men declare that this is an + impossibility and refuse to obey. Nebuchadnezzar is furious + and orders that they all be put to death. + + Daniel then comes before the King and asks that the King + give him time that he may interpret the dream. The King + grants this. + + + SCENE III + + Daniel appears before the King again. The King asks if he is + able to tell what the dream was and to interpret it. Daniel + answers that he is able to tell him, not, however, by his + own power, but by the power of God in heaven who revealeth + secrets. Then Daniel gives in detail the dream and tells + King Nebuchadnezzar the meaning thereof. The King is so + affected that he falls on his face and worships Daniel. He + recognizes the God of Daniel, and commands that Daniel be + made governor of Babylon. At Daniel's request he also makes + the three other Israelites rulers of certain provinces. + +This story may be treated in the same manner as the story of Joseph +(chapter iii). + + +8. SHADRACH, MESHACH, AND ABED-NEGO IN THE BURNING FIERY FURNACE + +DANIEL, CHAPTER 3 + +This story may be read to children directly from the Bible. After they +have worked it over several times the final product will include three +scenes of the following character: + + SCENE I + + The heralds come through the streets crying aloud that King + Nebuchadnezzar commands all people to bow down when they + shall hear the musical instruments and worship the image of + gold which he has set up. Those who do not obey will be put + into a burning fiery furnace. The instruments of music sound + and all the people fall to the ground to worship except the + three Israelites, Shadrach, Meshach, and Abed-nego. Some of + the men notice that the Jews do not obey, and go off + immediately to tell the King. + + + SCENE II + + The men come before the King and begin their story by + saying, "O King, live forever!" The Bible language may be + used directly here in the conversation which follows. The + King is very angry at what these men tell him. He orders + that the three Jews be brought before him. They are brought + in and the King tells them that they will have to be put + into the fiery furnace if they do not obey. The Jews are not + afraid and reply that their God will take care of them. The + King then orders them to be bound and to be taken out to the + furnace, which has been heated seven times hotter than + usual. Men come running back to the King to tell him that + the servants which thrust the Jews into the furnace were + burnt up by the heat, but that the Jews were not harmed. + Another man runs in and tells the King that a fourth person + is in the furnace, and that he resembles the Son of God. + Nebuchadnezzar commands that the three men be brought out + from the furnace. They come before him, with no mark of the + fire on them. The King is so greatly impressed that he makes + a decree that no one shall speak against the God of + Shadrach, Meshach, and Abed-nego. He then appoints these + three men to positions of greater trust than ever before. + + +9. BELSHAZZAR AND THE HANDWRITING ON THE WALL + +DANIEL, CHAPTER 5 + +This story, like the others from Daniel, is so dramatically told in the +Bible that it may be taken almost exactly as it is given. It should be +worked into a one-act play. Much attention should be given to the +setting, and the children may make many things which will give some +idea of the richness of the banquet hall. + +The play opens with the feast of Belshazzar. The people are making +merry in the midst of all the pomp and luxury of the court. Suddenly +the handwriting appears on the wall. The King and the people see it and +are terrified. The children should not attempt to show the handwriting, +but from the words and actions of the King and the people the audience +must be made aware of what is happening. None of the wise men present +is able to interpret the handwriting. The Queen comes before the King +and begs that he send for Daniel, the Jew. Daniel is brought in, and +after a little thought gives the interpretation. The scene should end +with the recognition of Daniel's power. The scarlet robe is placed on +him and the golden chain is put around his neck, and the King +proclaims that Daniel shall be the third ruler in the land. + + +10. THE STORY OF JOB + +THE BOOK OF JOB + +The most majestic piece of literature in the Bible, and one of the +world's masterpieces, is the Book of Job. The Prologue and Epilogue are +in the prose epic style, which characterizes the best narrative +portions of the Bible. The main part of the book is actually dramatic +in form, and the deep problem of human suffering is discussed in the +loftiest poetic language. The theme is so profound and the imagery so +elevated that it is quite beyond the ability of small children. +High-school students might well present the drama. Many of the speeches +may be abbreviated, while the Prologue can easily be dramatized. Job +has been so presented with great success by children of high-school age +at All Souls' Church, Chicago. It may be noted that the voice of the +Lord was given in an elevated monotone by a person unseen. + + +11. THE PROPHETS + +For the older children many of the Prophets make interesting characters +for dramatization. The great value of a study of the Prophets lies in +their appeal as beautiful pieces of literature and expressions of the +deepest spiritual feeling, rather than in the dramatic situations +presented. If a study is made of the life of the Prophets, and of the +times in which they lived, ample material will be discovered which may +serve as a background for the dramatization of these characters. This +material is not entirely available from the Bible, but should be +reinforced by outside references, such as _The Prophets of Israel_ by +C. H. Cornill, _The Modern Reader's Bible_ by R. G. Moulton, _The +Hebrew Prophets_ by Chamberlin. + +The prophet Amos may be taken as an example of what can be done with +this material. The Children of Israel are celebrating their autumn +festival with great joy and abandon. As the mirth is at its highest an +unknown man makes his way through the crowd. He silences the festivity +by chanting his dirgelike reproof to the merrymakers. The astonishment +of the people at this sensational interruption is great. The high +priest hurries toward him and demands an explanation for this unusual +disturbance. He orders Amos to cease speaking and to go back to the +hills and mind his sheep. Amos answers that he is sent by the Lord to +reprove the people of Israel, and he continues to intone his +lamentations. The most beautiful and vivid selections for use in +dramatization are found in chapters 8 and 9. While the final beautiful +words of the prophecy are regarded as an editorial appendix, there can +be no impropriety in using them as a dramatic climax. The people may +then be represented as subdued in spirit, accepting the upbraiding as +being the word of God. + +Isaiah, Jeremiah, and other Prophets may be worked out in like manner. +The result in each case, however, should insure the utmost dignity and +beauty; otherwise the dramatization should never be attempted. + +The many Prophets with their various messages suggest the possibility +of their use in a pageant. This form of dramatization may be given to +advantage by a group of children as a climax to their detailed study of +the Prophets. + + * * * * * + +From each of the following subjects several dramatizations may be +taken. They suggest many short one-act plays, and also some excellent +long ones. + + Saul Chosen and Anointed King of Israel. I Sam., chaps. 9 + and 10. + + Samuel Anoints David. I Sam., chap. 16. + + David and Jonathan. I Sam., chaps. 18-20. + + David Spares Saul's Life. I Sam., chap. 24. + + Moses Begs Pharaoh to Allow the Children of Israel to Leave + Egypt. Exod., chaps. 5-13. + +It may be well to state, in connection with the selection of stories +from the Bible for dramatization, that other stories outside of the +Bible may be dramatized by these same methods and will accomplish the +same results. It is not best to allow children to dramatize in +succession too many of the heavier type of stories, such as the Bible +stories represent. They may become tired if they work too long at the +same kind of dramatization. Children need stories which will lighten +and relieve the extreme seriousness and dignity which they necessarily +have to express in playing the Bible stories. There is a host of fairy +tales, folk-tales, and historical incidents that may well be adapted +for this purpose. + +_The Children's Educational Theatre_, by Alice Minnie Herts, describes +dramatic work with children older than those who made the plays in this +book. It is an interesting experiment in education which uses +dramatization as a means for accomplishing certain aims. + + + + +CHAPTER XIII + +STAGE SETTING AND PROPERTIES + + +The point has been emphasized in the preceding chapters that very +little stage setting and only a few properties are used in connection +with these dramatizations. It is always best that as much as possible +should be left to the imagination, and that only such setting and +properties be used as the children themselves can construct and as are +needed to produce the atmosphere of the play. This point of view +influences any consideration of these matters. + +It is frequently true that, after the children have made the articles +they find a need for, the results are very crude, and there is yet much +opportunity for free play of the imagination. Great benefit is derived, +however, through the construction of these objects. The children gain a +clearer understanding and a keener appreciation of them after they have +had the experience of trying to express the shape or form through some +medium, such as clay-modeling, paper-cutting, drawing. + +Care should be taken that children make nothing in the nature of stage +scenery, such as trees, grass, bulrushes, and other bits of landscape. +The only stage setting which seems at all necessary for them to make +involves very simple designs which show the characteristic +ornamentation of the times, for example, the lotus and papyrus designs +in Pharaoh's court. + +Drawings and descriptions of a few of the most essential stage +properties and settings are given below, with suggestions as to where +and how each may be used. + +_Water jugs and dishes._--In the earlier stages of Hebrew history--as +is found to be the case with all primitive shepherd people--skins and +wooden bowls were used for holding water, milk, and food. Clay vessels +were probably not in general use during the nomadic period. When +dramatizing the stories of Abraham and Isaac, and others of that +period, this fact should be taken into account, and only vessels of +wood and skin should be used. + +Most of the clay utensils, which are mentioned in the stories of a +later time, were shaped like those shown in Fig. 10. Many of the water +jugs had small handles, though some were without handles. Fig. 11 shows +the position in which a Hebrew woman usually carried her water jug. + +The Hebrews had little interest in the aesthetic except in the realm of +literature, and the lack is very evident in their pottery. The water +jugs are far from having the beauty of line and proportion which is +found in Greek pottery. Whenever any of these vessels are needed for +use in a dramatization, it is well to have the children bring jars and +bowls from home which conform as nearly as possible to the shapes here +given. Earthenware bowls and jars may be used effectively. + +[Illustration: FIG. 10.--WATER JUGS, DRINKING BOTTLE, MILK JUG, +COOKING POT, DISH, WATER JUG] + +_Wells._--The importance of wells in the life of the early Hebrews +cannot be overemphasized. The scarcity of water in the desert made the +digging of wells a necessity for the survival of people and of flocks. +As much of the land was rocky, wells could be dug only at certain +places. These favorable places were the means of determining where the +tents were to be pitched. In most of the stories of the nomadic life +wells play a conspicuous part. + +[Illustration: FIG. 11.--WOMAN CARRYING WATER JUG] + +Children should have correct mental pictures of those ancient wells, so +that they do not confuse them with the modern wells. The wells of +Palestine usually had low stone walls around them, and often big flat +stones for covers. The rocks were piled high enough to keep animals +from falling in. In some of the wells the water was so low in the +ground that people had to go down steps on the inside in order to get +it. In other wells the vessels were let down by means of ropes. The +women of the land were always required to draw and carry the water. + +The simplest way for children to represent a well on the stage is by +piling up rocks to resemble the outside or by using something that will +look like a great stone. Fig. 12 shows two kinds of wells in Palestine. + +[Illustration: FIG. 12.--ANCIENT WELLS IN PALESTINE] + +_Staff and rod._--The shepherd boy always had with him a rod and a +staff (Fig. 13). The rod was about two and a half feet long and was +used for protection. The thick knob at the end was cut out of the tree +from which the limb came, and was frequently covered with knots or +nails to make it more terrible as a weapon. The children may find +pieces of wood which will serve the purpose, or if they live near a +forest they may make their own rods. + +The staff was usually about five feet long. The shepherd used it to +help him climb hills and mountains and also to keep the sheep from +straying. Some staffs were nothing more than the straight limbs of +trees; others had a fork or crook at the end so that they could more +easily catch into the wool of the sheep when they needed guiding. +Children may use long sticks or branches from trees when they represent +staffs. + +[Illustration: FIG. 13.--SPEARS, SWORDS, STAFF, ROD, ARROWS, BOW] + +_Sling._--The sling which was used in David's time was frequently woven +of rushes, hair, or sinews; sometimes it was made from soft leather. +From Fig. 14 it will be seen that the shape of the woven part is wider +in the middle and comes to a point at the end. A string was tied to +each end and the stone was placed in the wide part. The sling was +whirled around over the head, and as one string was let loose the stone +flew out. When the sling is used in a dramatization, the stone may be +left to the imagination. + +[Illustration: FIG. 14.--A SHEPHERD'S SLING, A SIMPLE LOOM--MADE FROM +CARDBOARD] + +Children take great pleasure in trying to weave this sling. A diagram +of a simple cardboard loom is given in Fig. 14. The shape should be +drawn on the cardboard, then holes made for the thread which strings up +the loom. Coarse woolen yarn may be used for the weaving. + +_Shepherd bag._--The shepherd bag which was used by David was carried +by every shepherd boy along with the staff, rod, and sling. It was +made from a piece of skin with a cord at each end. The cords were +fastened to the girdle so that the skin formed a kind of bag. Pebbles +for the sling were carried in it, and often supplies of food. A piece +of leather or of brown cloth may be easily made into one of these bags +for the children to use. + +_Sickles._--Sickles were of two kinds--those made of metal and those +made of wood. The wooden ones were toothed with sharp pieces of flint. +Fig. 15 gives the characteristic shapes. + +[Illustration: FIG. 15.--SICKLES] + +Children may represent these sickles by cutting the shapes from stiff +cardboard and coloring them some dark color to make them look as if +they were wood or metal. Some of the boys may be interested in cutting +sickles directly out of wood. + +_Scepter._--The scepter was used by kings in the later history of the +Hebrews. It was nothing more than a development of the rod used in the +shepherd period. As a rod it was a means of protection and power over +enemies, and as a scepter it was a symbol of the same power. Scepters +were sometimes short, with much ornamentation; others were long, +probably five feet in length. They were all characterized by a ball at +the end, and in many cases the kings had them made from gold, or +richly ornamented with gold. The Persian kings used the long scepter, +which therefore is the kind most appropriate for the play of Esther +(see Fig. 16). + +_Tents._--The ancient Hebrew tent was much like the modern Bedouin +tent. It was low and spread out over the ground, and was made of black +goat's hair cloth. This cloth was usually stretched over nine poles, +arranged in rows of three and from six to seven feet in height. The +inside of the tent was divided into two parts by a long curtain which +hung across the middle. + +[Illustration: FIG. 16.--SCEPTER] + +A tent may be represented on the stage by placing a big thick cloth (a +blanket or canvas or dark curtain) over poles or screens. + +_Shields._--There were two kinds of shields found among the Hebrews. +One was very large and covered a man from head to foot; it was usually +carried by a shield-bearer. The other was small and was sometimes +called a buckler. Many different shapes were found in both kinds of +shields; some were like the Egyptian--long, broad, and straight at the +bottom; others were round and oblong. All shields were convex with +handles on the inside to hold them by. The kings had shields covered +with gold, or decorated with gold and precious stones; but the common +soldier had a shield of wood or stiff leather. Leather formed the basis +of the shields that were decorated. Fig. 17 will show drawings of some +of the typical shapes. Children can easily make shields out of +cardboard; some may be covered with gold paper or with dark-brown +paper. A handle may be glued or sewed in the inside so that the shield +may be held without trouble. + +[Illustration: FIG. 17.--SHIELDS, FRONT AND SIDE VIEWS] + +_Swords._--The sword was always hung from the left side of the +sword-belt. It was made from bronze or iron, and was about seventeen +inches long. Fig. 13 shows some of the usual shapes. Many swords were +two-edged and had leather sheaths in which they were carried. Children +may make these out of stiff cardboard, or out of thin wood. They should +be colored a dark color, and the hilts may be decorated with bright +colors to represent jewels. + +[Illustration: FIG. 18.--TRUMPETS] + +_Spears._--Spears averaged about five feet in length. The javelin was a +long, heavy spear used for casting; the lance was a lighter spear used +for defense. All spears had a shaft of wood and a metal or stone point. +Fig. 13 gives several of the characteristic shapes of spear-points. +Spears may be made by fastening cardboard points to long sticks, or by +cutting the point directly out of the wood. + +_Bows and arrows._--The bows and arrows of the Hebrews were very much +like those of all other primitive peoples. The bows were often four or +five feet long and the arrows were pointed with sharp flint or metal. +Illustrations of the shapes are found in Fig. 13. Children need little +direction in the making of these weapons, a string and some pliable +wood being all that is necessary. + +_Trumpets._--Fig. 18 illustrates the kinds of trumpets used. The small +ram's-horn trumpet was associated with the feasts and other public +celebrations, while the long metal horn was used for the most part by +the priests. These metal trumpets were frequently made from hammered +silver. Children can make them out of stiff paper or thin cardboard and +cover them with silver paper. + +[Illustration: FIG. 19.--SIGNET RING] + +[Illustration: FIG. 20.--LAMP] + +_Signet ring._--A signet ring is something that the kings were never +without. In the earlier times it was worn on a chain which hung from +the neck; later it was worn on the finger. Fig. 19 gives a drawing of a +signet ring. The design was raised so that it left an imprint. The king +used this imprint as his royal signature instead of signing his name. +When a signet ring is needed in a dramatization, as is the case in +_Daniel in the Lions' Den_, any large ring may be used, or the +children may be interested in making a ring from paper or cardboard. + +_Lamps._--Fig. 20 shows one of the simpler types of lamps used at the +time of Christ. This was probably the kind referred to in the parable +of the Wise and Foolish Virgins. The lamps were terra cotta and held a +very little oil. Children will be interested in making these lamps out +of clay or plasticene. They are almost in the shape of a shallow bowl +with a handle. + +[Illustration: FIG. 21.--EGYPTIAN DESIGN] + +_Egyptian design._--In the scenes placed in Pharaoh's court a few +decorations suggestive of the Egyptian will add interest. Fig. 21 gives +some of the simpler designs which the children may use for +ornamentation. The servants may carry the large fan-shaped designs, +which they make on stiff paper. These designs were made from the lotus +and the papyrus plants; the leaves were usually a blue-green, and red, +blue, yellow, white, and black were used in many designs. Fig. 21 shows +some of these designs that were made by the children and used in +representing Pharaoh's court. + +[Illustration: FIG. 22.--HELMETS, CROWNS, ASSYRIAN, EGYPTIAN, EGYPTIAN] + +As it may be of interest to those who have access to a library to know +where more definite and detailed information may be secured concerning +the articles that are but briefly described here, the following works +are recommended: The _New Schaff-Herzog Encyclopedia of Religious +Knowledge_; Hastings' _Dictionary of the Bible_; the _Jewish +Encyclopedia_; Kitto, _Cyclopedia of Biblical Literature_; three books +by W. M. Thomson--_Central Palestine and Phoenicia_, _Southern +Palestine and Jerusalem_, _Lebanon, Damascus, and beyond Jordan_; +Elmendorf, _A Camera Crusade through the Holy Land._ + + + + +CHAPTER XIV + +COSTUMING + + +The question of costuming may be dealt with in much the same manner as +that of stage setting and properties. Costumes are unnecessary in many +of the simpler plays, and even where they are used they should be so +treated that they are of minor importance in the minds of the children. +It is nearly always the case that the very smallest suggestion of a +costume--a sash or a cloth around the head--is satisfying and +sufficient to produce the proper atmosphere of the play. There is +danger of placing so much emphasis upon this phase of the work that the +children attach undue importance to it and thus lose the real spirit of +the dramatization. + +If costumes are used they should not be saved for the final +performance, but the children should have the pleasure of wearing them +at each practice where they are actually living over and over the lives +of other people. Children should get their ideas of the dress of the +times from pictures and descriptions and then in very simple ways try +to represent what they have observed. The simplicity of the costumes +among the Hebrew people makes the problem comparatively simple. + +[Illustration: FIG. 23.--A group of children, showing costumes and a +trumpet] + +There is very little definite knowledge about the exact costume of the +ancient Israelites, for they have left no records. The only sources of +information on the subject are the few references to dress in the Old +Testament and the few Jewish figures found among the Egyptian, +Assyro-Babylonian, and Persian carvings. The conclusion has been +reached, however, that the ancient Hebrew costume was in general +similar to that of the modern Arab. + +It is fairly certain that among the earliest tribes a simple slip or +short tunic, with close-fitting sleeves, was worn. Later a big loose +mantle was usually thrown over this slip. The little under-garment was +white, woven from wool, or sometimes made out of skins; the outer +garment was frequently striped, a bright color with white. Among the +old patriarchs the outside cloak reached to the ground. It was often in +the shape of a blanket, and was draped by throwing one end over the +left shoulder, then passing it across the front of the body and under +the right arm, then across the back, and to the left shoulder again. + +At a still later period there was the long gown, which reached to the +ankles and was belted in at the waist by a girdle. This was sometimes +covered by an outside robe which was like a cape. Frequently these +garments were brought over the heads in order to protect their wearers +from the sun. + +As a rule the servants and lower class of people wore only the one +garment--a short tunic, with or without a girdle. The richer men wore +the outside cloaks. Kings and nobles had many kinds of cloaks which +were very elaborately decorated. They had silk girdles, while the +poorer men wore leather girdles. See Figs. 23-27 for costumes made by +the children. + +[Illustration: FIG. 24.--The costume of Abraham] + +The women's dress was very much the same as that worn by the men. All +garments may have been a little longer, but the draping and the kinds +of garments were the same. Great ladies had beautiful veils and shawls. + +[Illustration: FIG. 25.--Two kinds of costumes--the Rich Shepherd and +the Servant.] + +Both men and women wore sandals. The soles were made of leather or +thick woven cords. They were fastened to the feet by means of strings +of leather, linen, or of papyrus. Two straps were usually attached to +the back of the sandal, then crossing from the back over the instep +they were tied to a third strap which was fastened at the front and +came between the great and second toe. Fig. 26 shows sandals which were +made by the children. + +[Illustration: FIG. 26.--Costumes, showing sandals made by the +children] + +The headdress in the earlier days was nothing more than a piece of +square cloth, folded diagonally and placed over the head with the long +point at the back; the two ends were then crossed under the chin and +thrown back over the shoulders. A cord was tied around the head to keep +the cloth on. Later a kind of turban was worn which had no loose ends, +but which projected over the face enough to protect one from the sun. +Figs. 23-25 give examples of different kinds of headdress made by the +children. + +[Illustration: FIG. 27.--Costumes] + +The crowns which the kings wore were frequently of gold, studded with +jewels, although the Persian king had a stiff cap of felt or cloth, +encircled by a blue and white band. Fig. 22 gives a few of the typical +shapes for crowns. + +The helmets which were worn by the soldiers were varied. The shapes +employed by the Assyrians and the Egyptians were probably used among +the Hebrews. See Fig. 22 for drawings of some of the best-known +helmets. Children may make these easily by using cardboard and gilt +paper. + +The Hebrew men and women had many personal ornaments, such as +necklaces, armlets, bracelets, rings. Children delight in making all +kinds of bracelets and chains from gold and silver paper. They may +bring all the bright-colored beads that they can get for the enrichment +of the costume. + + + + +CHAPTER XV + +THE ORGANIZATION OF A CHURCH DRAMATIC CLUB + + +The kind of dramatics described in this book may be undertaken with +success in connection with any Sunday school. The most necessary +element is a leader in charge who is wide awake to the aims and +purposes of such work and who has the ability to deal with little +children. A trained teacher is preferable. + +This dramatization can be most effectively presented to children +between the ages of six and thirteen. In case the Sunday school is very +large and more children join than can be easily managed by one leader, +it would be best to divide the members into two or three smaller +groups, each with a competent leader in charge. One person should be +able to handle well from twenty to twenty-five children.[2] + +This training ought not to stop with younger children, but may well be +carried on with pupils of high-school age. This would involve problems +slightly different from those here presented, but on the whole the +same aims may be achieved. + +It is sometimes the case that a few of the children outgrow the club. +They begin to realize that they are much larger than the others, and +they decide that they do not care to take part in the acting, yet they +are still interested enough to come to the meetings. If there is no +other dramatic club into which they may go, then they may be used as +assistants in the younger club and made to feel that they are a +necessary part of it. There are many ways in which they can be of +valuable help to the leader, at the same time experiencing a +development through the training. + +During one year in the history of the dramatic club here described +three girls of fourteen came regularly to the meetings. They could not +be persuaded to take part in the dramatizations, but they expressed an +eagerness to help in the direction. They entered into the discussion +and criticism of the plays that were being acted each Sunday, and their +suggestions were always very much to the point. They had the ability of +explaining what they meant to the children so that it was easily +understood. These girls would write out the scenes, sometimes while the +children were actually giving them; or, again, they would write them at +home and bring them for discussion at the next meeting. They took +entire charge of the costuming, and would meet outside at sewing-bees, +where they mended, pieced, or made over the costumes on hand. Then at +the plays they always took the responsibility of dressing the little +children, putting on their headdresses, tying their sashes, and seeing +that their costumes were draped in the right way. + +When a dramatic club is first started, it is advisable to dignify the +organization by electing a president and secretary from among the +children. The president may take charge of the meetings and then turn +them over to the director, and may help in many ways to keep the club +together. The secretary may call the roll and be responsible for +sending notices to the members. Children always delight in this amount +of formality, and through it each one becomes a much more vital part of +the group; the responsibility as far as possible is placed upon the +children, and they usually rise to meet it. + +It is hardly practical in most cases to attempt to hold more than one +meeting a week. The time should be set according to the convenience of +the majority of the members. Sunday afternoon was found to be the best +time for this little club to meet, but any week day will do as well. +Occasionally, just before a play is to be given, a few call meetings +may be necessary. + +It is desirable that the club own the simple costumes which the members +wear. A costume box is a convenient place for keeping them. The same +garments may be used over and over again, and should be kept where they +may be easily obtained at each meeting. The older girls in the group +will be glad to take charge of the costume box, and they should see +that all of the garments are kept in order. The supply of costumes will +grow, for children will be constantly bringing new things to add to it. + +There are various methods of getting a number of costumes on hand. The +children may bring from home old sheets and bright-colored shawls and +ribbons, which may be used to advantage. Often the Sunday school will +appropriate a small sum in order to help buy materials. A very small +amount of money need be spent, for the costumes must be extremely +simple and they should be planned and made by the children. + +The construction work which the children do in connection with the +dramatization is an important part in the working out of a play. As +already noted, the greatest value of it lies in the fact that it +represents the efforts of the children. There is hardly time at one of +the regular meetings to have the construction work done. A discussion +of the articles needed may be necessary, after which the children +should be encouraged to make them at home. The older ones are able to +look up pictures and descriptions which will help, while the younger +ones need to have the matter frequently talked over in order to give +them the correct mental pictures of what they are to make. It is always +surprising to see how readily children take hold of this kind of work. +They bring in very many interesting things which they have made--often +things which they have thought out for themselves and which they had +not been asked to make. There are times when all the members are +working on the same problem, such as lamps for the Wise and Foolish +Virgins. It may be best under these circumstances to have a meeting +outside where they all work together. (Descriptions of these +constructed articles may be found in a previous chapter.) + +A word of warning may be in place at this point. Parents of the +children are usually anxious and eager to help in making costumes and +the constructed objects. The very best aid that they can give is to see +that the children have the opportunity for making these things +themselves; they may encourage and guide wisely, but the finished +product must be the child's, not the mother's. Some mothers have +thought that they were doing the right thing to have a carpenter make +the spears and other weapons for the soldier. The boy derives more +benefit if he looks around for some sticks which will serve his +purpose, no matter how crude they may be. + +The order in which plays are given in this book should not be taken as +the proper sequence for a dramatic club. The story of _Joseph_ is +described in detail first because the method used there may be followed +with any of the shorter or longer stories. This particular story, +however, should not be the first one presented to children who have +never had such work before. Such stories as _David and Goliath_, +_Abraham and the Three Guests_, or any of the parables should come +first. _Joseph_, _Ruth_, and _Esther_ are well worked out by children +after they have had a little experience with dramatization. + +As a final summary, let it be ever kept in mind that this dramatization +functions as a factor in religious education only when the highest +development of the children is the aim. It should be so conducted that +it forms an essential part of the religious training of the Sunday +school, and also one of the valuable activities of the church. + +FOOTNOTES: + +[Footnote 2: In church schools which are organizing on the most +approved methods of the correlation of all educational activities the +dramatic club may be a regular part of the junior department, similar +clubs being integral parts of the other departments.] + + + + +INDEX + + + + +INDEX + + +Aaron, 55 + +_Abraham_, the dramatization of, 84-92, 118 + +Ahasuerus, king of Media and Persia, 70-83 + +Aims of dramatization, 5, 9-10 + +Amos, the prophet, 127 + +Angels, 85, 90 + +Armor and weapons, 50, 138-140, 151 + + +Bag, shepherd, 136 + +Banquet, Queen Esther's, 69, 80 + +Belshazzar, 125 + +Boaz, 64-66 + +Bow and arrow, 140 + + +Cardboard, use of, 45, 60, 151 + +Citizens of Bethlehem, 65 + +Clay, use of, 100, 131, 142 + +Cloak, outer garment, 146 + +Conspirators, 94-97 + +Construction work, 45, 60, 130-143 + +Costumes, 45; + the making of, 144-151; + the method of obtaining, 155 + +Crowns, 150 + + +_Daniel_, the dramatization of, 93-97, 122, 125 + +Darius, 93-95 + +_David_, 44; + the dramatization of, 46-51, 128 + +Design, Egyptian, 142 + +Diagram of loom, 45, 136 + +Dishes, 131 + + +Education, religious, 6-8, 157 + +Elijah, 120-121 + +Elisha, 122 + +_Esther_, the dramatization of, 68-83 + + +Feast, 80, 115-116 + +Fiery furnace, 123-124 + + +Gibeonites, 116-117 + +Girdle, 146 + +Gleaners, 63 + +Goliath, 44, 48, 51 + + +Haman, 71-74 + +Harvest, 59, 61 + +Headdress, 69, 144, 150 + +Helmet, 143, 151 + + +Innkeeper, 105 + +Isaac, 118-120 + +Isaiah, 128 + + +Jacob, 18, 112 + +Jael, 112 + +Jephthah, 112 + +Jeremiah, 128 + +Jericho, 103 + +Jerusalem, 103 + +Job, 126 + +Jonathan, 128 + +_Joseph_, the story of, 17-25; + the dramatization of, 34-43 + +Joshua, 116 + + +Lamps, 99-100, 142 + +Lions, den of, 93, 96-97 + +Loom, 45, 136 + + +Method of presenting dramatization, formal, 9; + informal, 10-16 + +Miriam, 55 + +Moab, the land of, 63 + +Mordecai, 72-74 + +_Moses_, the dramatization of, 52-56, 128 + + +Naomi, 62-63, 66-67 + +Nebuchadnezzar, 122-123 + + +Organization, of dramatic club, 7, 8, 152-157; + of stories, 110-111 + +Ornaments, personal, 151 + + +Papyrus, 142, 149 + +Parables, the dramatization of, 98-108 + +Performance, public, 14, 33, 90 + +Pharaoh, 21, 39, 54, 57-58 + +Pharaoh's daughter, 55-58 + +Pictures, the use of, 45, 84 + +Plasticene, 100, 142 + +President of the club, 154 + +_Prodigal Son, The_, dramatization of, 105-108 + +Prophets, the, 126-127 + + +Queen of Sheba, 115-116 + + +Reapers, 63-64 + +Rebekah, 118-120 + +Ring, signet, 141 + +_Ruth_, the dramatization of, 59-67 + + +_Samaritan, The Good_, the dramatization of, 103-104 + +Samson, 112 + +Samuel, 113-114, 128 + +Sandals, 62, 148-149 + +Sarah, 85 + +Saul, 48, 128 + +Scepter, 69, 78, 137 + +Secretary of the club, 154 + +Servant, 100, 108 + +Shepherd customs, 84 + +Shield, 45, 138 + +Sickles, 60, 137 + +Sling, 45, 51, 135-136 + +Soldier, 49, 96 + +Solomon, 115-116 + +Spears, 45, 140 + +Staff, 45, 134 + +Stage setting, 84, 130 + +Supper, The Great, 100 + +Swords, 45, 139 + + +Tents, 84, 138 + +Trumpets, 141 + +Tunic, 146-147 + +Turban, 150 + + +_Virgins, The Wise and Foolish_, the dramatization of, 99-100 + + +Water jugs, 131-132 + +Wells, 133 + +PRINTED IN THE U.S.A. + + + + +PRINCIPLES AND METHODS OF RELIGIOUS EDUCATION + +_Edited by_ W. C. BOWER, EDWIN E. AUBREY, and W. C. GRAHAM + + +_A Survey of Religious Education in the Local Church._ By William C. +Bower. + +_The Junior: Life-Situations of Children Nine to Eleven Years of Age._ +(Revised edition, 1932.) By Ernest J. Chave. + +_Out of Doors with Youth._ By J. W. F. Davies. + +_The Sunday-School Building and Its Equipment._ By Herbert F. Evans. + +_Recreation and the Church._ By Herbert W. Gates. + +_Character Building through Recreation._ By Kenneth L. Heaton. + +_Graded Social Service for the Sunday School._ By William N. Hutchins. + +_A Summer Program for the Church School._ By Miles H. Krumbine. + +_World-Friendship through the Church School._ By John Leslie Lobingier. + +_Projects in World-Friendship._ By John Leslie Lobingier. + +_The Dramatization of Bible Stories._ By Elizabeth Erwin Miller +(Elizabeth Miller Lobingier). + +_Dramatization in the Church School._ By Elizabeth Erwin Miller +(Elizabeth Miller Lobingier). + +_Far Peoples._ By Grace D. Phillips. + +_Church School Projects._ By Erwin L. Shaver. + +_The Project Principle in Religious Education._ By Erwin L. Shaver. + +_A Project Curriculum for Young People._ By Erwin L. Shaver. + +_Handwork in Religious Education._ By Addie Grace Wardle. + + +THE UNIVERSITY OF CHICAGO PRESS + + * * * * * + +Transcriber's Notes + +Made minor punctuation and formatting changes, e.g., indentations. + + + + + +End of the Project Gutenberg EBook of The Dramatization of Bible Stories, by +Elizabeth Erwin Miller Lobingier + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DRAMATIZATION OF BIBLE STORIES *** + +***** This file should be named 39022-8.txt or 39022-8.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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