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.
By Melba Pyle
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.
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.
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.]
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
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:
[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 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!
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
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.
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.]
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
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.]
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.]
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.]
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!
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
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.
[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.
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.
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.
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.
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:
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.
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.
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.
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:
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.
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.)