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 att.i.tude 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 a.n.a.lyzed 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 att.i.tudes toward society and standards of friends.h.i.+p 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 c.u.mbrous 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 ill.u.s.trative 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 ill.u.s.trate 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