Chapter XXIV: 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.