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.
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.
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.
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.
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:
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.
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.
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).
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:
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.