tk dae RITUAL AND DRAMATIZED FOLKWAYS RITUAL AND DRAMATIZED FOLKWAYS FOR USE IN CAMP, CLUB, RELIGIOUS ASSEMBLY, SETTLEMENT AND SCHOOL WRITTEN AND ADAPTED BY ETHEL REED JASSPON AND BEATRICE BECKER ILLUSTRATED BY ALBERT R. THAYER New York THE CENTURY CO. London é x rm bral y ; ; Sy aa ; = eo eS: 2 ee ; vs oe eae ) as : ets a 3 . be > Jeo 5s =st\ f e O Child, I have so much to leave thee,— The traffic in dreams, The glamour of day The splendor of night Precious moments slipping away. O Child, I say I leave the world in thy keeping. INTRODUCTION In all our ways of getting understanding let us not forget our imagination. In using our imagination let us use drama- tics—creative dramatics. It is necessary to look, to listen, to multiply experience, then to close our eyes and see. This see- ing may reveal that all life is dramatic. Youth of all chrono- logical ages loves playing a part. This instinctive tendency when expressed in dramatic action can create, or foster, the desire for worth while material—material that in itself is joy-bringing and really educative. Such an education will include knowledge, attitudes and habits on the part of young people. Unfortunately there is very little simple, direct, dramatic material available for use in school, camp, church, settlement or club that in itself is worth while and that at the same time fosters the creative impulses of young people in this direction. There are many sources of material, but certainly one of the most important lies in the ideals of a people as preserved in their Ritual. All peoples in their onward march have their ceremonials. Youth loves ceremonials. The question is shall we use this desire to develop desirable knowledge, appreciation, mental and emotional attitudes and habits on the part of youth or shall we neglect the important aims of education? A second source of material lies in the little-used resources for dramatization of Folk literature. In such literature there Vii Viil INTRODUCTION is a distinctive quality as well as an elemental appeal that lends itself easily to dramatic interpretation. Any presentation of ideals preserved in Ritual or in Folk- ways would fail in one important purpose if it did not leave its readers, or better still its interpreters, with a desire to utilize other Rituals and other Folkways, that is, a desire to do a kind of creating themselves. However, an initial presen- tation of material is necessary to create and foster interest, to show what can be done and how such materials can be used. It is in these kindred fields of Ritual and Folkways that Beatrice Becker and Ethel Reed Jasspon in their Ritual and Dramatized Folkways have made a selection of dramatic material and music that is in itself joy-bringing and educative. At the same time the use of this material should stimulate the creative impulse of boys and girls and adult leaders to discover and develop other material for them- selves in these same fields. ELBert K. FRETWELL, Teachers College, Columbia University PREFACE Dramatization is finding a place of increasing importance in the newer project-education which seeks to provide for young people real vital experiences in present living. There is pos- sibility for creative experience in the choosing or writing of a play, the study and making of costumes and stage settings, the solving of lighting problems, the varied and invaluable lessons which come out of actually working together for a common purpose. The Ceremonies, Plays, and Dramatized Folkways included in this volume have all been tried out and found adaptable to the simple costume and stagecraft facilities found in Camp, School and Settlement. We have used pantomime largely as a most effective medium for dramatization. Where the Reader carries the thread of the story we do away with the memorizing of lines and provide release for those whose self-expression is hampered by the spoken word. More children may share in the joyous experi- ence of “being in a play.” We wish to thank Mrs. I. Spectorsky for her faith and en- couragement of our projects, Emma Sheridan Fry for her valuable criticism, and Minya Hirsh who helped with the selection of music. We wish also to thank the following publishers and authors who have permitted quotations from their publications: 1x x PREFACE Robert Haven Schauffler: Gate of the West from Scum O’ the Earth” G. P. Putnam’s Sons: The Happy Prince from The Happy Prince and Other Stories, Oscar Wilde The Penn Publishing Co: Derriére Chez Mon Pere from Old Songs in French and English Small, Maynard & Company: Salut au Monde from Leaves of Grass, Whitman; The Omaha Tribal Prayer from Indian Song and Story, A. C. Fletcher The Century Co: The Flag, Franklin K. Lane, from Services For the Open, Mattoon Bragdon; The Crusade of the Children, Elisabeth Woodbridge Harvard University Press: Epilogue—Little Clay Cart— Ryder Hasegawa: Tokyo—Rhymes and Life Scenes of Japan— Calendar 1902 Edwin Markham: The Man With the Hoe Carl Fischer: Breiges Dance—Wengerke And further we wish to make acknowledgment to all those whose quotations, so familiar as to be almost idiomatic, we have drawn upon freely. ETHEL REED JASPON BEATRICE BECKER COMPLETE LIST OF MUSIC CEREMONY OF FRIENDSHIP Tschaikowsky—March from the Nutcracker Suite Chopin—Mazurka Opus 33, No. 4—Theme in B Major—3z2 measures Schumann—Finale of Symphonic Etude—16 measures Choral Sanctus—Twice 55 Community Songs—Green Book These Things Shall Be—Page 14 FOURTH OF JULY CEREMONY America the Beautiful—Twice 55 Community Songs—Brown Book Indian Dance—Music, Page 32 Spanish Dance—Moskowski—Opus 12, No. 2 Tarantella—Folk Songs, Folk Dances and Singing Games— Elizabeth Burchenal Dutch Dance—Grieg Dances—No. 2 Marseillaise—Twice 55 Community Songs—Brown Book Columbia the Gem of the Ocean—Twice 55 Community Songs —Brown Book Landing of the Pilgrims—Twice 55 Community Songs—Green Book True Freedom—Laurel Song Book Star Spangled Banner—Twice 55 Community Songs—Brown 00 These Things Shall Be—Page 14 CEREMONY OF LIGHT March from Parsifal—Wagner—Page 20 Chant—Page 21 Mendelssohn—Consolation—Sleep, Noble Hearts—Twice 55 Community Songs—Green Book RUTH AND NAOMI Tschaikowsky—Chanson Sans Parole—Opus 40, No. 6 xi xii COMPLETE LIST OF MUSIC FINDING OF THE BABY MOSES Tschaikowsky—Autumn Vermeland—Page 56 Beethoven—Fifth Symphony—Part I—4th movement—Finale allegro THE HAPPY PRINCE Grieg: Album Little Birdling On the Mountain—Opus 19 Folkweise Spring Tanz—Opus 47, No. 6 Poetic Tone Picture—No. 5 Heartsease Poetic Tone Picture—No. 4 Skip Dance—Opus. 38, No. 5 Erotique—Opus 43, No. 5 Chopin—Mazurka—Opus 17, No. 4 German—Henry the Eighth—Page 69 SCUM O’ THE EARTH Grieg—Patriotic Song Chopin—Mazurka in A Minor—Opus 17, No. 4 Dvorak—Songs My Mother Taught Me Santa Lucia—Twice 55 Community Songs—Brown Book Kol Nidrei—Page 88 FOUR FRENCH BALLADS—Pages 98, 106, 112, 120 HINDU WEDDING CEREMON Y—Pages 126, 127, 128, 129 TWO RUSSIAN FOLK PANTOMIMES—Pages 136, 140, 142 AN ENGLISH BALLAD—Page 149 JAPANESE CEREMONIES Tschaikowsky—Chinese Dance—Nutcracker Suite De Koven—Japanese Lullaby Japanese Folk Melody—Page 159 Japanese Folk Song—Page 163 COMPLETE LIST OF MUSIC xiii NEW WINDOWS Schumann—Children’s Scenes—Child Asleep Palmgren—May Night Chopin—Mazurka—A Minor—Opus 17, No. 4 Grieg—Poetic Tone Picture—No. 4 Beethoven—Introduction to Sonata Pathétique Brahms—Waltz in A Flat Beethoven—Presto Movement from Seventh Symphony SIMPLE SIMON Pieman’s Song—Page 183 Sunbeam’s Chant—Page 186 HELPFUL BOOKS Costuming a Play—Elizabeth Grimball and Rhea Wells—The Century Co. A List of Music for Plays and Pageants—Roland Holt—D. Appleton Co. Folk Songs of Many People—Botsford—z2 Vols.—Woman’s Press | Leaves From the Golden Bough—Lady Frazer Folk Songs, Folk Dances and Singing Games—Elizabeth Burchenal—Schirmer The Dance in Education—Marsh—A. S. Barnes and Company CONTENTS PREFACE ° e e e e e e e e e ° te} e 0 RESETS COTS) 5) acl a0 ee ae ae a Part I. CEREMONIES AND DEVOTIONAL PLAYS Mere TIP eC CEE MONY ws 6 wis wel 6 ee Rm Tere ge) eG eine ee we Meee iiy CEREMONY 26 66 4 eg ks RutH AND NaoMI—A PANTOMIME . .... . FINDING OF THE BABy Moses—A PANTOMIME... SeptR Pe BINGE. gee et see el oe i Part II. DRAMATIZED FOLKWAYS EME MUNV EST ie! a le tg ee oe ee Four FRENCH BALLADS a Pte Co Lee PATHeR Wishes "Me To MARRY . .. ..- «+ «se eee er RINCESSES 6 5 re ee me Nor loo HArp To PLease, DEARS . . . . . THE KING ORDERS THE DRUMS TO BE BEATEN eiiw. Hinpu WEDDING CEREMONY Re ee Ms Masta eer 2 5, mapeetan POLK FPANTOMIMES . . << “a « ». “© PEASANT BETROTHAL Eee eRe ee Rn RAC ee pe PIRNGE OR IRECONCILIATION «45 50 wb el es AN ENGLISH BALLAD—THE WRAGGLE-TAGGLE GypPsiEs, O Seen OCENES: ¢. sy ce lca le au eee Juty--TuHe Feast or LANTERNS . .... . AUGUST—SUMMERIN Kyoto ...... . xV [* vil ix 102 110 116 125 133 135 139 147 ISI 154 159 Xvi CONTENTS SEPTEMBER—IHE FEAST OF THE CHRYSANTHEMUMS AT THE TEMPLE GATE—PANTOMIME Part III. ALLEGoRIES NEw WINbDows—-A PANTOMIME ra) SIMPLE SIMON—A PLAYLET . . . 2. e« -« PAGE . 263 eh 8 Cio SE SL AGE DIRECTIONS The positions on the stage or floor are described as follows: Center stage Up stage—to the back of stage Down stage—to the front of stage, or toward audience Left—left of audience when facing stage Right—right of audience when facing stage Floor space—hall floor between audience and stage Steps—leading from stage to floor space PART Ceremomes and Devotional Plays i Tn, a 7 i? shale om FRIENDSHIP CEREMONY THE PLAYERS LABOR SCIENTIST STATESMAN OF THE WORLD GUARDIAN OF HEALTH EDUCATION Music SCULPTURE PAINTING PoET HUMANITY VOICE CHILDREN OF ALL PEOPLES: AMERICAN ENGLISH FRENCH RUSSIAN AFRICAN SPANISH PORTUGUESE PERSIAN CHINESE JEWISH ARMENIAN JAPANESE DutTcH EsKIMO FRIENDSHIP CEREMONY This ceremony presents the idea that the best contribution of each individual enhances life for all; that out of the fostering of good fellowship, will come a humanity transcending all racial distinction. ScENE: Dark back-drop; stage, floor-space and center of hall are used. Music: March, Nutcracker Suite, Tschatkowsky. [As curtains are slowly drawn, LaBor 1s seen at center back leaning wearily upon lis hoe, recalling Mullet’s painting, “The Man with the Hoe.” ] | VOICE Bowed by the weight of centuries he leans Upon his hoe and gazes on the ground, 5 CEREMONIES AND DEVOTIONAL PLAYS The emptiness of ages in his face, And on his back the burden of the world. Who made him dead to rapture and despair, A thing that grieves not and that never hopes, Stolid and stunned, a brother to the ox?.. Whose breath blew out the light withir his brain? [Music continues as Lazsor haltingly takes position to left, as indicated in stage diagram, page 16. Enter ScIENTIST, left, with telescope or other symbol of his craft. He comes down stage to center front. | SCIENTIST Through changing cycles unceasingly I go, Striving to banish human ill and woe, In quest of knowledge, Truth my goal. [SctENTIstT takes position as in diagram. Enter Guar- DIAN OF HeEattu, left. She stands center front as ScIENTIsT greets her. | SCIENTIST A lady with a lamp shall stand, In the great history of the land, A noble type of good Heroic Womanhood. [GUARDIAN oF HeEaAttH takes place. See diagram.) Enter EpucaTION, left, carrying scroll. She comes center front. | | | | FRIENDSHIP CEREMONY 7 SCIENTIST Lo, Education speaks. EDUCATION Come and give me a hand then, And I will give you a mind, A place for your feet to stand then, Which only the wise can find; So in the dwellings of mortals Forgiveness shall spring like grass, And love be a light in your portals, And sorrows as winds that pass. [Each character extends hand in greeting. SCIENTIST leads EpucatTion to her place.]| Music: Mazurka, Opus 33, No. 4. Theme in B Major. Chopin. [Characters withdraw to left to make place for the Arts, who enter right. Music enters playing on her lute. She speaks as 1f to herself. | Music The soul of music slumbers in the shell Till waked and kindled by the Master’s spell; And feeling hearts, touch them but rightly, pour A thousand melodies unheard before. [Music takes her place, right. Enter, right, the other ARTS: SCULPTURE, carrying an unfinished clay figure ; PAINTING, with palette and brush; Poet, carrying scroll. EDUCATION, stepping forward, apostrophizes them. | 8 CEREMONIES AND DEVOTIONAL PLAYS EDUCATION Spirit of Beauty, that dost consecrate With thine own hues all thou dost shine upon Of human thought or form. Music: March, Nutcracker Suite, Tschaikowsky. [Enter STATESMAN OF THE WORLD, carrying portfolio. He walks to center front, and speaks as 1f glumpsing a vision of anew world. End of music. ] EDUCATION Welcome, Statesman of the World. STATESMAN I dipped into the future, far as human eye could see, Saw the Vision of the world, and all the wonder that would per ins: Till the war-drum throbbed no longer, and the battle-flags were furled, In the Parliament of man, the Federation of the World. Music: Finale, Symphonic ‘Etudes, Schumann. [Humanity appears at left of hall. With dignified bearing, she comes up aisle through audience. All characters extend arms in greeting. STATESMAN goes to center of floor-space to meet HUMANITY. He escorts her to center of platform. | STATESMAN [S peaking for all] We salute thee, Humanity, FRIENDSHIP CEREMONY 9 Each of us and all of us, Consecrating ourselves to thee. [ All extend arms in consecration. | Each of us living in thee, Making thee great Only as we are great. HUMANITY My thankfulness is deep and great; You have found life’s true purpose. Now you see It is not chaos or death; It is plan, union, form; It is eternal life; it is happiness. [Port, inspired to speak his newly created poem, steps forward, and appeals to audience. | PoET If brotherhood were understood, If we but knew, would but believe, It is to live, It is to give, Not caring what we shall receive. *Twould touch all lands, ’Twould clasp all hands, In common hope for common good, A world made new, God’s dream come true, If brotherhood were understood. 10 CEREMONIES AND DEVOTIONAL PLAYS Music: Finale, Symphonic ‘Etudes, Schumann. [Enter CHILDREN oF ALL PEOPLES, one file night and one file left of audience. (See diagram.) WUMANITY descends one step. Children group on floor-space. | POET In hearts too young for enmity, Here lies the way to make men free. When children’s friendships are world wide, New ages will be glorified. Let child love child, and strife will cease; Disarm the hearts, for that is Peace. [Port steps back to position. | Humanity [Addressing CHILDREN OF ALL PEOPLES| You, whoever you are! You daughter or son of England! You Frenchman of France! You of the mighty Slavic tribes and empires! you Russ of Russia ! You dim-descended, black, divine-souled African, large, fine- headed, nobly formed, superbly destined, On equal terms with me! You Spaniard of Spain! You Portuguese! You beautiful-bodied Persian, at full speed in the saddle, shooting arrows to the mark! You Chinaman and Chinawoman of China! You Jew journeying in your old age through every risk, to stand once on Syrian ground! FRIENDSHIP CEREMONY II You thoughtful Armenian pondering by some stream of the Euphrates! | You foot-worn pilgrim welcoming the far-away sparkle of the minarets of Mecca! You Japanese man and woman! And you, each and everywhere, whom I specify not, but in- clude just the same! Health to you! Good will to you all! Each of us inevitable; ‘Each of us limitless—each of us with his or her right upon the earth; Each of us here as divinely as any is here. [Turning to STATESMAN OF THE WORLD. | O Statesman of the World, bring me my banner of Friendship. [STATESMAN brings white flag bearing a dove as tts crest. Humanity unfurls flag. ] HUMANITY Children of the World, take this flag, a symbol of my most | precious gift, the gift of Friendship through Understand- ing. [As the flag is passed, Choral Sanctus 1s chanted by two sopranos, substituting the following words. | Peace, peace, blessed peace, Peace, peace, blessed peace, Peace, peace, blessed peace, Peace through understanding. [AMERICAN CHILD takes flag and turns to audience. She speaks in spirit of consecration. | #2 CEREMONIES AND DEVOTIONAL PLAYS AMERICAN CHILD We will carry the message into all the homes Of France, of Italy, everywhere. Carry it into the hearts Of all the children waiting there. We go forth, Child Crusaders, as we must; It matters not what shall befall our bodies, Our spirits go crusading down the ages, Calling to all the children of the world. And all the children of the world shall hear. I see them listening, those far-off children; I see them thronging, eager, radiant; Our songs are blowing to them down the wind Of time, and faintly up the wind comes back their greeting. They are waiting, We shall join them, The Children of the World shall save the world. [With exalted bearing, AMERICAN CHILD followed by the other children, HUMANITY, etc., march in procession about hall, and exit to the outdoors. | [Assemblage sings] These Things Shall Be— COSTUMES Lazor: Overalls; work shirt; heavy shoes. SCIENTIST: Laboratory coat. STATESMAN: Long frock-coat; stiff white collar; black tie. GUARDIAN OF HEALTH: Costume of Red Cross nurse. EpucaTIon: College cap and gown. Music: Clinging gown of gray cheese-cloth or canton flannel, Grecian effect; head-band. SCULPTURE I Smocks of blue and tan; flowing Windsor PAINTING ties ; soft tams. Poet: Short Grecian toga (unbleached muslin with border of Grecian design) ; wreath of gold leaves (gilded oil- cloth). Humanity: White draped gown of cheese-cloth; silvered head-band. AMERICAN CHILD: Simple white dress; band of red-white- and-blue bunting, draped over left shoulder and fast- ened at waist. CHILDREN OF ALL PEOPLES: See costume-book for charac- teristic national costume. 3 These Things Shall Be Music by GrRIFFISs 1. These things shall be, a 2. They shall be gen - tle, loft - ier race than e’er the world hath known shall rise brave and strong, to spill no drop of blood, but dare flame of freedom in their souls And light of knowledge in their eyes! that may plant man’s lord-ship firm, On earth, and fire, and sea, and air! ae \o gs 8 gs ms WEDS" ENT REAM Ine OS ye BS in gg These Things Shall Be—Concluded Te es Beer TE 2 BLE BEA" PERRI a i gg eh gp ko} — gg AES ES 1S JSS TES A EES SRA EE Fa Jot Ue Se aT ASS BER Na - tion with na- tion, land with land, Un-armed shall live as New arts shall bloom of loft - ier mould, And might-ier mu - sic ia (S035 Se a ares ee ee el i Bs De Ras L* 073 Cal a Seen BE RE De Ge a ED PO aE | Dee eee Dg —— gg + 5 -----g - JESSE 2) - ae | eee (Ni IS Bee ee BS eee eee LG Gy Faas $$ $:* > he oe: : com-rades free. In ev - ’ry heart and brain shall throb, The thrill the skies, And ev - ’ry life shall be a song, Where pulse of one fra-ter-ni- ty! all the earth is par -a - dise! CHILDREN OF ; =m, CHILDREN oF ALL PEOPLES a oN ioe ALL PEOPLES ®, wv Lee S tess Pad “ ef A oor e; a a. — > STAGE DIAGRAM 1 Lazor 6 SCULPTURE 2 SCIENTIST 7 PAINTING 3 GUARDIAN OF HEALTH 8 Port 4 EDUCATION Q STATESMAN OF THE WORLD 5 Music 10 HuMANITY 16 a i ; gore v 2 : ae i) ‘ , ’ i | i; (- ‘ } F ‘ ; fin } ) wy ~ Yaa ' \ ’ ‘ \ . Fi ‘ i . . . 7 y a ’ ’ ‘ . . e =f ’ ’ F a i y , , ee ‘ ste ? : ae ras : : j é 4 ‘ ae . L #4 . Nae eyAca ols 4 Ont Rites OA eee Site ort ge ee Uy ae “OL Be Pe @ THE PLAYERS THE SPIRIT OF WOMANHOOD SEVEN IDEALS OF WOMANHOOD: FAITH TRUTH Love KNOWLEDGE HEALTH BEAUTY SERVICE EIGHTEEN BEARERS OF LIGHT (younger girls) : THREE SPOKESMEN ANTIPHONAL CHORUSES A AND B (Glee-club of camp or school) THE CEREMONY OF LIGHT The transmission of the ideals of Womanhood to Girlhood is the theme of the following ceremony. Repetition of word, movement, and antiphonal singing give it ritualistic quality. SCENE: A back-drop of dark material is used. To right of center stage stands a table upon which 1s a Roman lamp. To the left stands a candelabrum for seven lights, repre- senting the “Tree of light.” The floor-space, steps to stage, and center of hall are used. (See diagram page 27, for seating arrangement of audience.) As curtain is slowly drawn, the Spirit oF WOMANHOOD is seen at center stage. Music: March from Parsifal, Wagner (see page 20). [From left and right floor-space enter THE SEVEN IDEALS or WoMANHOOD with lighted tapers. They march to stage and form a semicircle about SPIRIT OF WOMAN- HOOD. | 19 RICHARD WAGNER March from Parsifal CEREMONY OF LIGHT 21 SPIRIT OF WOMANHOOD We see in all light a symbol of the ideals of Womanhood. This Roman lamp, your lighted tapers, symbolize the flame of aspiration which burns in every heart. The tree of light, bear- ing seven candles, symbolize you, the Seven Ideals of Woman- hood: Service, Faith, Truth, Love, Knowledge, Health, and Beauty. [As each IDEAL is named she holds aloft her lighted taper.| Behold! when these candles are kindled into flame, we shall have a tree of light, made glorious, to illumine the way of life. SERVICE [Lighting the topmost candle with her taper.] Behold! with a spark of aspiration, I kindle my light of Service. FAITH [Similar action.|_ Behold! with a spark of aspiration, I kindle my light of Faith, ANTIPHONAL CuHorus [Chanted by two choruses A and B, singing antiphonally from diagonal corners of the hall. | Moderato om A CHorus A Kindle now the light of Faith, For highest service made glorious. }: 22 CEREMONIES AND DEVOTIONAL PLAYS TRUTH Behold! with a spark of aspiration, I kindle my light of Truth. Cuorus B Kindle now the light of Truth, For highest service made glorious. LovE Behold! with a spark of aspiration, I kindle my light of Love. Cuorus A Kindle now the light of Love, For highest service made glorious. KNOWLEDGE Behold! with a spark of aspiration, I kindle my light of Knowledge. Cuorus B Kindle now the light of Knowledge, For highest service made glorious. HEALTH Behold! with a spark of aspiration, I kindle my light of Health. CHorus A Kindle now the light of Health, For highest service made glorious. BEAUTY Behold! with a spark of aspiration, I kindle my light of Beauty. CEREMONY OF LIGHT 23 Cuorus B Kindle now the light of Beauty For highest service made glorious. [Tapers are extinguished and placed on table. Sem- circle formation 1s resumed. | [Music, March from Parsifal. Enter from right, nine BEARERS OF LiGuHT, and from left, nine BEARERS OF Licut. They march single file, carrying unlighted tapers, meet, and form double file at center. | SPIRIT OF WOMANHOOD O children, behold this tree of light Made glorious by the Ideals of Womanhood. Treasure it, take light from it, To fire your hearts to noble living. “For as one light lights another Nor grows less, So nobleness enkindles nobleness.” [Music, March from Parsifal. SERVICE, leading the other IDEALS, takes her light from the candelabrum and goes to top of step, center; others follow, same action, and take positions as in diagram. Three children from each file advance and kindle thewr tapers wn the lights of the IDEALS. | | First SPOKESMAN As ye have received the light from others, So do we now receive the light from you. As ye pass on the light to others, So will we pass on the light to all. 24 CEREMONIES AND DEVOTIONAL PLAYS [Wath lighted tapers, the six children step back into double file. Without breaking the continuity, the next six take their places in front of the IDEALS and light their tapers. | SECOND SPOKESMAN As ye have received the light from others, So do we now receive the light from you; As ye pass on the light to others, So will we pass on the light to all. [The last six, including THIRD SPOKESMAN, repeat the foregoing and step back into double file. Simultane- ously the SEVEN IDEALS return to the SPIRIT OF WoMANHOOD and raise their candles to form a halo about her. At this point it is effective for the double line to separate, forming a horseshoe of light in center of hall. Tuer Brarers oF LicuT. raise thew lhghted tapers in consecration to the SPIRIT OF WOMANHOOD. | SpiriIr OF WomaANHOop [To BEARERS OF LIGHT] Oh, candle gleam, how bright you seem, When with your light you further light; Begetting love and shedding truth, Dispelling all the fear of night. THIRD SPOKESMAN This gleam continuous burns for thee, Reflecting all the soul of thee In noble service wrought for thee Eternally. [Spirit oF WoMANHOOD raises right hand in godspeed to BEARERS OF LiGHT, who march with exalted step CEREMONY OF LIGHT 25 about hall and exit right and left, while curtains are slowly drawn upon “halo of light.’ | [Entire assemblage sings, to tune of Mendelssohn’s “‘Con- solation.”” | SONG OF DEDICATION Faith, Truth, and Love, Knowledge, Health, and Beauty, To highest Service Now we dedicate. Till our Ideals shall reign o’er all victorious And light of Service lead us on our way. Till our Ideals shall reign o’er all victorious And light of Service lead us on our way. COSTUMES THE Sprrir oF WoMANHOOD: Costume suggests symbolic figure: white flowing gown falling in graceful folds; sandals; silver head-band. SEVEN IDEALS OF WOMANHOOD: Costumes of similar design dyed in the following colors: SERvicr, yellow; FaiTu, green; TRUTH, blue; Love, rose; KNOWLEDGE, purple; HEALTH, carmine; BEAUTY, pearl gray. EIGHTEEN BEARERS OF LicgHT: Gowns of white cheese-cloth or voile; festoons of ground-pine or smilax fastened to shoulder and about waist; head-band of ferns (may be fastened to band of white elastic) ; sandals. Candelabrum may be of wrought iron with floor standard; candles, white or ivory. The Roman lamp may be made of gilded, stiff paper. | } ' ih i | hi ° HT hd %, "ORS, ‘L1G esvoe of 4 AUDIENCE STAGE DIAGRAM qt SprrItT OF WoMANHOOD 6 TRUTH 2 CANDELABRUM 7 LOVE 3 TABLE WITH RomAN Lamp 8 KNOWLEDGE 4 SERVICE 9g HEALTH 5 FaitH 10 BEAUTY 27 FOURTH OF JULY CEREMONY THLE: PLAYERS CoLUMBIA Two PaGEs S1x INDIAN BRAVES SPANISH MAIDEN ITALIAN PEASANT GIRL DutcH GIRL DutcH Boy JOAN OF ARC PurITAN Man AND WOMAN LIBERTY JUSTICE INDUSTRY EDUCATION Pusiic HEALTH PEACE LEADER AND SIXTEEN AMERICAN CHILDREN HIsTORY SPIRIT OF THE FLAG BUGLER FOURTH OF JULY CEREMONY. The following ceremony aims to present to children something of the origin, spirit, and true significance of Independence Day. The holiday should not be one of shallow, flag-waving patriotism, but rather an initia- tion into the meaning of citizenship. ScENE: Preferably outdoors, contingent upon the position of the flagpole. Stage, steps, and green are used. Music: Furst and fourth stanzas of “America the Beautiful” are sung by the entire assemblage. [Introductory measures of “True Freedom” are played. Enter Two Paces. They come down steps from cen- ter back and take positions on either side of stage. Co- LUMBIA enters with great digmty. She comes down stage to center front. Music, Indian tom-tom. En- ter, from either side of green, S1x INDIAN BRAVES, who chant the Omaha Tribal Prayer and greet CoLUM- BIA with a native dance. At the conclusion, they stand with bowed heads before her. | 31 3¢ CEREMONIES AND DEVOTIONAL PLAYS The Omaha Tribal Prayer Slow, Grave, Solemn Harmonized by Prof. J. C. FILLMORE a feocepsa Mall, vib vis 20 Fe sa om a area ae eR ee fr 9 -@ Ee }-—F | ee NWS eee rae we | oF mp ——— a aS) ry A ae a Wa-kon-da ——————_—__ dhe - dhu Wa-pa-dhin a - ton-he oN WY ne Sf ——_ ~ ae Wa-kon - da dhe - dhu Wa-pa-dhin a - ton - he, ye COLUMBIA I greet thee here, my native sons, Ye stalwart Braves, My famed first-born. [Indians retire, heads bowed, to either side of green Music, “Spanish Dance,’ in G Minor, Moszkowski. Enter, right green, SPANISH MAIDEN, who dances vi- vaciously and then bows before COLUMBIA. | CoLUMBIA Oh, welcome, dark-eyed Spanish maid In jewels bright and silks arrayed; FOURTH OF JULY CEREMONY 33 Within your far-rapt seer’s eyes I catch the glow of the wild surmise That played on Santa Maria’s prow When a world from a wave began to rise. [Spanish MAatIpEN takes her position beside Indians at right. Music, Italian tarantella. Enter ITALIAN PEAS- ANT GIRL, left of green. She dances the Italian taran- tella and then faces COLUMBIA with arms extended. | COLUMBIA Oh, it’s hard to foretell what high emprise Is the goal that gleams When Italy’s dreams Spread wing and sweep into the skies. Columbus dreamed him a world Of wealth and beauty rare; From your true son of valor, The name Columbia I bear. [IraLIAN PEASANT GIRL takes her place beside Indians at left. Music, Grieg “Dances,’ No. 2. Enter, left, DutcH Girt and Boy. They perform a quaint “uind- mill dance’’ and stand before COLUMBIA. | COLUMBIA Of Knickerbocker folk we read In history. Their sturdy strength and purpose daring— ‘Bright their page of glory! 34 CEREMONIES AND DEVOTIONAL PLAYS [ DutcH CHILDREN stand beside ITALIAN PEASANT. GIRL. Music, “Marseillaise” is sung by assemblage. JOAN OF ARC 1s seen approaching from left of green. With noble bearing, she passes in front of stage, holding aloft her flag, and takes position to right of green. | COLUMBIA Welcome to this Festival of Freedom, O Maid of Orleans, Whose everlasting spirit Lives in the hearts of men, Kindling anew Their faith and failing courage To dare for liberty. [Joan takes her place at right of SpANisH MAIDEN, Music, Landing of the Pilgrims. Enter from right of green, PurIrAN Man AND WoMAN reading from a prayer-book. They kneel before COLUMBIA. } CoLUMBIA Ye have crossed the ocean wide, Upon a holy mission bound; A shrine of faith and liberty, Freedom in worship here to found. [Music, “Columbia, the Gem of the Ocean,” first verse, is sung by assemblage as PuRITANS step to left of green. | FOURTH OF JULY CEREMONY ate | First PAGE See, Columbia, who come to keep festival with us. [Announcing each player who enters from back stage. (See diagram page 41) | Liberty, Justice, Industry. SECOND PAGE Education, Public Health, Peace. COLUMBIA All thrice welcome at our festival. [Music, “True Freedom.’ Procession of LEADER and SIXTEEN AMERICAN CHILDREN enter from right of green. They advance by twos, lay their offering of field flowers at CotumBta’s feet, and take position as shown in the diagram. | : LEADER A floral tribute here we bring to thee, Columbia. COLUMBIA My daughters true, Gracious are all your ways, Joyous be all your days. Look upon fair History’s page, And may yours be a nobler age. [History enters from center back, comes to right of CoLumBIA, and reads from her scroll. | 36 CEREMONIES AND DEVOTIONAL PLAYS HISTORY Of Roger William’s faith I tell, Vision true that knew So well How for man to make secure Freedom of conscience To endure The test of time. COLUMBIA Tell our children, History, why we are gathered here to-day. HISTORY On the Fourth of July, 1776, the representatives of the United States of America, in Congress assembled, declared that “these united colonies are, and of right ought to be, free and independent States.” This anniversary of our independence we celebrate to-day. CoLUMBIA And what of the re-birth of the nation? History I read from Lincoln’s Gettysburg Address: “that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom— and that government of the people, by the people, for the peo- ple, shall not perish from the earth.” FOURTH OF JULY CEREMONY 37 COLUMBIA This liberty is yours “to enjoy, to protect, to transmit”’ to all children everywhere for all time. Raise aloft our flag. [Music, “True Freedom.” Pace takes flag and hands it to LEADER, who marches with it to flagpole. CHIL- DREN turn about-face and advance, forming a connect- ing line between stage and flagpole. As the flag 1s unfolded to its full beauty, the face of the SPIRIT OF THE FLAG, /utherto concealed, appears from behind it. | SPIRIT OF THE FLAG I am what you make me, nothing more, I swing before your eyes as a bright gleam of color; A symbol of yourself; A pictured suggestion of that big thing which makes this nation. My stars and my stripes are your dream and your labors. They are bright with cheer, brilliant with courage, firm with faith, because you have made them so out of your hearts. We are all making the flag. LEADER Our hearts, our hopes are all with thee; Our hearts, our hopes, our prayers, our tears, Our faith triumphant o’er our fears, Are all with thee, are all with thee! [SprrIr OF THE FLAG disappears. Flag 1s raised as BucGuer plays “Colors.” Entire assemblage sings first 38 CEREMONIES AND DEVOTIONAL PLAYS verse of “The Star-Spangled Banner.’ Assemblage repeats the “Pledge to the Flag.” Assemblage sings “These Things Shall Be,’ page 14, as COLUMBIA leads the recessional, followed by the other players. | COSTUMES CoLuMBIA: Gown of white falling in graceful folds; sash of red and white to suggest bars of flag; cap of blue bearing silver stars, for “field of stars.” Two Paces: Knickerbockers and shirts of white; stripes of red, white, and blue on trouser seam; head-band of same. Stx Inpran Braves: Feathered head-dresses; blankets, etc. SPANISH MAIDEN: Full red skirt; black mantilla; colorful shawl; high-heeled slippers; large comb; fan; jewels. ITALIAN PEASANT GIRL: Full green skirt; white peasant blouse ; black-laced bodice. DutcH GirL: Blue dress; kerchief, apron, and cap of white lawn. Dutcu Boy: Black knickerbockers; white jumpers; black cambric cap; blue Windsor tie. (‘‘Wooden shoes” may be made of brown paper, shaped to bedroom slippers. ) Joan or Arc: Doublet and hose, and cape of French blue. She carries a French flag. PuriTANs: Woman: Dress of gray cambric; kerchief, apron, and cap of white lawn. Man: Black trousers, long cape; stiff hat with broad rim of blackened paper. (Shoes may be made of storm rubbers with buckles of silver paper. ) LipErTY: To suggest Statue of Liberty; flowing gown of 39 40 CEREMONIES AND DEVOTIONAL PLAYS green with drape over shoulder ; seven-pointed crown; a torch in right hand, and tablet in left. | Justice: To suggest symbolic figure of Justice; blue robe of Grecian design; eyes veiled; scales in right hand. INDUSTRY: Gray overalls and shirt; sun-hat and hoe to sug- gest Agriculture, or mallet to suggest Builder. EAGE:,.~White flowing gown; in right hand, a dove (made of clay or cardboard). forznER? Axi SIXTEEN AMERICAN CHILDREN: Girls wear to basdwite blouses and dark skirts, and boys wear white shirts, dark trousers, and red Windsor ties. Poseie/MeattH: Costume of a Red Cross nurse. lpf#s¥ervs!l Purple gown of Grecian design. She carries a 2lowol geroll or large book. SptReg OFTHE Frac: Flowing white robe; she holds large American flag. HpwcAgion: College cap and gown. (Cap may be made of pasteboard. ) | sxosld :e7 Vem “290 ( .2teqaqrile anld clone toto: 2192 nK -TIGEC to esl to >\ ay ES (eas \ r ‘ Fae Le | s x = x br 3 7 moe A x So ef % Rose S oe ENTRANCE eres x XN K oem nm me STAGE DIAGRAM I COLUMBIA 10 JUSTICE 2 PaGEs 11 INDUSTRY 3 INDIANS 12 EDUCATION 4 SPANISH MAIDEN 13 PusLtic HEALTH 5 IraLIAN PEASANT GIRL 14, PEACE 6 DutcH GIRL AND Boy 15 History 7 PILGRIMS 16 SPIRIT OF THE FLAG 8 Joan oF ARC 17 AMERICAN CHILDREN 9 LIBERTY 18 LEADER 19 BUGLER 41 hr ae al | a Aobee Cant gae eam) ht x “ os 1 x : tae ae mat H Rot y : yakrne se = ST a al] 5 : : of opie ‘ SF 4 4 a y ' = \ ee ™ LZ ee Seaport og ; 7 oN ale + rh = es =a 4 e ‘ ‘i ee oan ieee Ss te, , t es 3 " ° Y t Laan ta } rp ye ; fi Sar ata ican \\ Me “ a J 2 : Se on oe = = pee Cia ts eae = F : ie ; c cs Se \ > , te OT et eg a i ere” ™ { ,r_F pen saat en ap vill i BW ee a t ) ‘ { eh P = ie Me ap ae 3 1 = : , Fi = Bint 3 Sears Desc aia ’ J *) j-" é * S, Mg ae | Oe a aero ae Pa Ie Manso Re i i y J x 2 rt Pe bad ; : 5 : r: r Y i BP jena at | ? { F Roane E the ees Pe epee as wh Pera ray Ul paaee Ea bia ‘ " | F t 1 ea t i 4 Se 1 : ' : ‘ i 7] | : i 1 , See , i D Roi feat y \ ; f Wes : Bi Fea eee ee ; ei nots : {4} I a aa Sheth oy zal fete hs Sie 7 Br . : , ogeT ‘ on ' seh outa . 2 et Wiener ) t ! - ‘ ; : ; Z é ‘ i F Rae SE ay ! = \e z \ ' } ' : t * a = { = ‘ I i t j 2 ; RES tala : oe Se ANG ts es ‘ - pane gue aac ts 2 ; oa { 1 f i . é ee i ; b x 7 ahs -f? a : ! anes 3 x ayes Jb, Ui { ; E 5 2 4 , 2° meet : : an a ta ; ’ ’ s } 4 et Bh : : tens =n ' a HH ' ‘v ' i! u ve . ay eer z! 2. ‘ om fa, 4 ny 4 a; | } meSyeiea fis y : LS } : eae i e f ' 6 Uae ay 2 = . eciats A : ‘ 9 - ' A ath, ff f / ; ; AL. t # he et Y 4 Fhe iy YS | . ade AN i i RUTH AND NAOMI—A PANTOMIME THE PLAYERS RuTH Naomi OrRPAH NARRATOR RUTH AND NAOMI? ScENE: On the roadway to Bethlehem—Judah. (Where stage 1s inadequate to suggest distance, the floor-space 1s used.) Stage curtains closed. Music: “Chanson Sans Parole,’ Opus 40, No. 6. Tschai- kowsky. NARRATOR Now it came to pass in the days of the Judges, that there was a famine in the land. Anda certain man of Bethlehem-Judah went to sojourn in the country of Moab, he and his wife, and his two sons. And the name of the man was Elimelech, and the name of his wife, Naomi, and the name of his two sons, Mahlon and Chilion. And they came into the country of Moab and settled there. And Elimelech, Naomi’s husband died, and she was left with her two sons, Mahlon and Chilion. And they took them wives 1 First produced, in 1922, under direction of Mrs. Emma Sheridan Fry, at Camp Lenore. 45 46 CEREMONIES AND DEVOTIONAL PLAYS of the women of Moab; the name of the one was Orpah; and the name of the other, Ruth; and they dwelled there about ten years. And Mahlon and Chilion died also, both of them; and the woman was bereft of her husband and also of her two sons. [Music begins softly.| Then she arose with her daughters-in-law that she might return from the country of Moab, for she had heard that the Lord had visited his people in giving them bread. [Naomi enters, left foor-space, with RutH and ORPAH on either side. They come slowly down center front. | | Therefore she went forth out of the place where she was, and her two daughters-in-law were with her: and they went on their way to return unto the land of Bethlehem- Judah. And Naomi said unto her two daughters-in-law, both of them, “Go, return, each of you, to her mother’s house. ‘The Lord deal kindly with you, even as ye have dealt with the dead and with me.” [ Daughters kneel to receive blessing. | “The Lord grant you that ye may find rest, each of you, in the house of her husband.” Then she kissed them, and they lifted up their voices and wept. [ Action follows text. | RUTH AND NAOMI 47 And they said unto her, “Nay, surely we will return with thee unto thy people.” [ Daughters cleave unto her. And Naomi said, ‘““Turn again, my daughters, go your way! Nay, my daughters, for it grieveth me much for your sakes that the hand of the Lord is gone out against me.” And they lifted up their voices and wept again. And Orpah kissed her mother-in-law, but Ruth clave unto her. [Music, without reading, while ORPAH turns to go.] And Naomi said, “Behold, thy sister-in-law goeth back unto her people and unto her gods; return thou also after thy sister- in-law.” [Music, as OrPAH pleads with RuTH to join her, and exits sadly, left. | And Ruth said, ““Entreat me not to leave thee, or 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, I will die, and there will I be buried. [RutH grasps Naomi’s hands and vows :]| “Jehovah do so to me, and more also, if aught but death part thee and me.” [Music during dramatic pause, as NAOMI is convinced of RutTuH’s loyalty. | 48 CEREMONIES AND DEVOTIONAL PLAYS And when Naomi saw that she was steadfastly minded, she left off speaking unto her. [The two women embrace and go off right. End of music. | So they two went forth, Naomi and Ruth the Moabitess, her daughter-in-law, with her out of the country of Moab, and they came to Bethlehem-Judah in the beginning of the barley har- vest. COSTUMES Naomi: Gown of purple cheese-cloth; dull-red head drapery ; sandals. RutH: Gown of ivory color cheese-cloth or crepe; head scarf of striped fabric. OrPAH: Gown of soft blue or gray; orange turban. Narrator: Head scarf and garment of soft gray cheese- cloth, falling in loose folds. 49 ut 1 ’ ——<—<—— ll | il | aneerea ng He SAVIN mtv 4) H ‘B matt } “| Wt ‘4 jt at : on 7 yift, M/ ify i HHA Heat . \ WW .' ss X 1 s 1 i] 7 / i} . y | ean ye AAT be 1 Ne f bt F | d ' r 7 4 i hey a i Abe: fad ik \ f % If tp (i WAN I yy AMY \ \ ; ) ON LAN Pa ate Daa \ Ss AN \ ‘\ i(k (ean \ is . ~ oy, Pant ea 0; oN . 5 apie 4 fi, CAR WY ye} 1 1 ss \ , ta \bo . \ Wels! 1, ' } \ | Ut ul 1 | hy \ mate ? \ A 4 ea lg past WANG ag f/ i NE WT: \ , ; if ’ Hy! ay y] } H i Le \ . ml FINDING OF THE BABY MOSES—A PANTOMIME PLAYERS Jaw Ko BED, Mother of Moses MirIAM, Sister of Moses THE Princess, Pharaoh’s Daughter Four HANDMAIDENS Two FaNn-BEARERS NARRATOR FINDING OF THE BABY MOSES SCENE: The bank of the River Nile is suggested by shrub- bery, ferns, bulrushes, driftwood, and stones arranged on floor-space. Curtains are open, disclosing dark back-drop. Steps lead to floor-space. Music: “Autumn,” Tschaikowsky. Played on strings and piano. [NARRATOR stands at rear of hall near piano, or to side, depending on acoustics of hall.] NARRATOR And when Joseph died and all that generation of Israel, there rose up a new king over Egypt who knew not Joseph. Then said the new king unto his people, even unto the Egyp- tians, Behold, the people of the children of Israel are more and mightier than we. Come, let us consider and deal wisely with them; lest they multiply, and it come to pass, that, when there falleth out any war, they join also unto our enemies, and fight against us. Let us bestir ourselves, and afflict the children of Israel and so get them up out of the land. Therefore they did set over them taskmasters to afflict them with their burdens. And they built for Pharaoh treasure cities, Pithom and Raamses. 93 54 CEREMONIES AND DEVOTIONAL PLAYS But the more they afflicted them, the more the Hebrews multiplied and were steadfast. And the Egyptians made the lives of the children of Israel bitter with bondage and made them serve in their bondage with rigor. And the king of Egypt said, every man-child, every son that is born of Israel, even of these Hebrews, ye shall lay hold upon, and cast into the river. And Amram, a man of the house of Levi, took to wife Jah ko bed, a daughter of the house of Levi also. And Jah ko bed conceived, and when her time was come, she brought forth, and lo! the child was a son! [Music begins softly. } | And when she saw her goodly child, that it was a son, she hid him; three months she hid him. And when it came to pass that she could no longer hide him, she made an ark: she weaved an ark secretly, and laid the child therein, and rose up with the child in the ark she had made, and went forth. [Music continues during follounng pantomime. From left floor space JAH KO BED enters, carrying baby. She 1s distraught. | NARRATOR And her heart yearned heavily within her; and her daughter Miriam came and was with her. [Music continues, without reading. MuirtAM comes left. She urges her mother to place the child in the bulrushes by the river’s brink. | FINDING THE BABY MOSES be NARRATOR Then called Jah ko bed unto God that He might be mindful of her child. [JAH KO BED prays fervently. ] And. the voices of Pharoah’s daughter and her maidens were heard. [Miriam runs to stage, peers off right, indicates approach of royal party. | NARRATOR And Jah ko bed was sore afraid, and Miriam comforted her mother. And Jah ko bed hearkened, and laid the ark, and the child therein, among the flags by the river’s brink. And her heart yearned heavily, and she was sore afraid. [Pantonume follows text. Exit JAH KO BED, left, arms raised in prayer. | NARRATOR | And Miriam, the child’s sister, stood afar off to see what might befall her brother. [Mrrtam conceals herself behind shrubbery, left floor- space. Music, Fifth Symphony, Part I, Fourth Move- ment, Finale, Beethoven. | NARRATOR In this hour was the time that the daughter of Pharaoh was minded to come down with her maidens to wash herself at the river. And her maidens walked along by the river’s side; and they saw the ark among the flags. [From right stage come two HANDMAIDENS. At top of steps, first HANDMAIDEN notices basket among flags, 56 CEREMONIES AND DEVOTIONAL PLAYS draws attention to tt. Her companion runs back to tell Princess. Enter PRINCESS with other HANDMAID- ENS. Two Fan-Brearers follow, and take position on etther side of steps. | NARRATOR And when Pharoah’s daughter saw the ark among the flags, she sent her maid to fetch it. [First HANDMAIDEN fetches ark for PRINCEss, who T awaits her at right floor-space. Music, “Vermeland”’ ts played softly. | Vermeland Swedish Folk Song FINDING THE BABY MOSES 57 NARRATOR And when Pharaoh’s daughter had opened the ark, she saw the child: And behold, the babe wept. And the heart of Pharaoh’s daughter moved within her, and she said, This is one of the Hebrews’ children. [HANDMAIDENS show delight at sight of child. One stands aloof disapprovingly, fearing disobedience to Pharaoh’s edict. Mirtam appears from behind shrub- bery, left, and motions to nearest HANDMAIDEN, e.4- pressing her desire to address the PRINcEss. HAND- MAIDEN indicates slave girl to PRINCESS, who nods as- sent. Muirtam kneels before PRINCEsS. | NARRATOR Then said the child’s sister to the princess, “Shall I go and call to thee a nurse of the Hebrew women, that she may nurse the child for thee?” And Pharaoh’s daughter looked upon Miriam and said unto her, “Yea, go.” And Miriam hasted her and called the child’s mother. And Pharaoh’s daughter looked upon the child. [Mirtam returns with JAH KO BED, who comes crouch- ingly and prostrates herself before the PRINCESS. | Then Pharaoh’s daughter spoke unto the woman, saying, “Take thou this child.”’ [JAH KO BED reaches up to seize the child, and would depart sunftly. She thus betrays herself to the PrRIn- CESS, who senses the situation, but seeks to conceal tt from her HANDMAIDENS. PRINCESS, feigning stern- ness, commands JAH KO BED. | 58 CEREMONIES AND DEVOTIONAL PLAYS Yea, take the child away and nurse it for me. Be thou heed- ful of him, and I will pay thee wages. [ JAH KO BED, in gratitude, kisses hem of PRINCESS’s gar- ment and comes to center front floor-space and bends eagerly over child. Music, Beethoven, on page 55. Procession leaves in the same order as entrance. Music, “Autumn,’ Tschaikowsky. JAH KO BED and MIRIAM rejoice over the recovery of the child. They consecrate him to the service of God. Exit left.] NARRATOR [Without music. | So it came to pass that the child grew and his mother was nurse to him. And Pharaoh’s daughter called the child “Moses,” because she had drawn him from the water. COSTUMES JAH KO BED: Long tunic and head scarf of striped material. Feet bare. ; Mir1AM, Her DauGHTER: Short gray tunic; head scarf of blue. Feet bare. Princess and Four HAnpDMaAIDENS: The splendor of the court costumes can be achieved through utilization of the primary colors—greens, blues, yel- lows and gold and terra-cotta. Egyptian motifs may be studied and transferred to paper or muslin, for head-bands, collars, and borders. Beads, bracelets of gilded paper, and paste jew- els may be added. Two Fan-Bearers: Black bathing-suits serve as founda- tions. Headdresses, collars, and belts may be made of gilded oilcloth, The fans are made of heavy cardboard. The conventionalized design is painted in the Egyptian colors. THE Narrator: Flowing gray robe and head scarf of cheese- cloth; scroll or large decorative book. 59 IN oe Wop pid | WE {2 {LSE | MN Wn ee y, _\\W Cn / LM 5 Shs aKN = NES Wy, xe (t / 7. $7 eT _———— THE HAPPY PRINCE—A PANTOMIME Oscar Wilde’s “Fairy Tales” have long been a source of inspiration for their literary value and ethical content. Al- most any of the stories may be easily adapted. for pantomime. “The Happy Prince” is included among the Devotional Plays because of its spiritual message. THE PLAYERS READER THe Happy PRINCE THE SWALLOW THE REED THe Mayor THE Town COUNCILOR CHARITY CHILDREN (four or six) GIRL AND LOVER THE SEAMSTRESS THE Sick Boy THE POET THe MatcH GIRL Tue Gay Procession: First CLOWN SECOND CLOWN SPANISH SENOR AND SENORITA Two MEDIEVAL CouRTIERS PIERROT AND PIERRETTE Two TROUBADOURS Poor CHILDREN (eight or ten) BEGGAR Man THE HAPPY PRINCE [Reader stands to right of stage. To left of stage is a frame—o ft. by 8 ft.—with curtains closed. THE REED is seen at left, well in front of frame. ] FIRST EPISODE—THE REED AND THE SWALLOW SCENE: Outdoors. Music: “Birdling,’ Gnieg. [THE REED sways lightly in the breeze. | READER One night there flew over the city a little Swallow. His friends had gone away to Egypt six weeks before, but he had stayed behind, for he was in love with a most beautiful Reed. [Enter, left, THE SWALLow chasing moth, sees THE REED, ts charmed by her grace. | He had met her early in the spring as he was flying down the river after a big yellow moth and had been so attracted by her slender waist that he stopped to talk to her. “Shall I love you?” said the Swallow, who liked to come to the point at once. [THe SwALLow fits toward THE REED. | And the Reed made him a low bow. So he flew round and round her, touching the water with his wings and making silver 63 64 CEREMONIES AND DEVOTIONAL PLAYS ripples. This was his courtship, and it lasted all during the summer. [Pantomime follows text. THE SWALLow and THE RrEEp embrace. | Then the autumn came and all the Swallow’s friends flew away. He felt lonely and began to tire of his lady-love. [THE Swattow looks off into the distance. | “She has no conversation,” he said, ‘and I’m afraid that she is a coquette, for she is always flirting with the wind.” [THE SwaLLow walks away from THE REEp fetulantly. | And certainly, whenever the wind blew, the Reed made the most graceful curtsies. “Will you come away with me?” he said finally to her. But the Reed shook her head. She was so attached to her home. “You have been trifling with me,” he cried. [Stamping foot.] “I am off to the Pyramids. Good-by.” And away he flew. [THE SWALLOw encircles THE REED several times and is seen flying off into the distance, right, as THE REED withdraws, left, unobtrusively. | Music for SwALLow’s flight, “On the Mountain,’ Opus 19, Grieg. [Note: If produced indoors, distance can be suggested by drawing stage curtains slowly. THE SWALLOW then flies before curtains and off-stage.| SECOND EPISODE—THE PRINCE AND THE SWALLOW [Curtains on stage are drawn, disclosing the statue of THE Happy Prince. Music, “Volkweise,’ Grieg.] READER High above the city stood the statue of The Happy Prince. He was gilded all over with thin leaves of fine gold; for eyes he had two bright sapphires, and a large red ruby glowed on his sword-hilt. He was very much admired indeed. [Enter, left, the Mayor and Town CouNcILor very pompously. They pass in front of statue, and panto- mime conversation. | “He is as beautiful as a weathercock,”’ remarked the Town Councilor, who wished to gain a reputation for having artistic tastes. | [Going off right, they meet a group of Cuarity CHIL- DREN, who curtsey with ceremony. Music “Spring Tanz,” Grieg. | “He looks just like an angel,’ said the Charity Children, as they came out of the cathedral in their bright scarlet cloaks. [Cuarity CHILDREN gather about statue in awe of tts beauty. The group skips off happily except one child, who steps up to statue and looks into its face. She strokes the golden garment, then exits left, still gazing at the statue over her shoulder. End of Music.] 65 66 (CEREMONIES AND DEVOTIONAL PLAYS All day long the Swallow flew, and at night-time he arrived at the city. “Where shall I put up?” he said. “I hope the town has made preparations.” [Enter Tue SwALtow right; he wearily flits from the to right, seeking a resting-place. | Then he saw the statue. “I will put upthere!” hecried. “It is a fine position with plenty of fresh air.” So he alighted just at the feet of The Happy Prince. “T have a golden bedroom,” he said softly to himself as he prepared to sleep; but just as he was putting his head under his wing a large drop of water fell on him. “What a curious thing!’ he cried; “there is not a single cloud in the sky, and yet it is raining. The climate in the north of Europe is really dreadful.” Then another drop fell. [Disgruntled.| “What is the use of a statue if it cannot keep the rain off?” he said. “I must look for a chimney-pot,” and he determined to fly away. But before he had opened his wings, a third drop fell, and he looked up, and saw—ah! what did he see? The eyes of The Happy Prince were filled with tears, and tears were running down his golden cheeks. His face was so beautiful in the moonlight that the little Swallow was filled with pity. [Tue SWALLow fits to side of statue and looks up.) “Who are you?” he said. “T am The Happy Prince.” THbo HAPPY (PRINCE 67 “Why are you weeping, then? You have quite drenched me.” [Shaking the water from his wings.] “When I was alive, and had a human heart,” answered the statue, “I did not know what tears were, for I lived in the Palace of Sans Souci, where sorrow was not allowed to enter. In the daytime I played with my companions in the garden, and in the evening I led the dance in the Great Hall. Round the garden ran a very lofty wall, but I never cared to ask what lay beyond it, everything about me was so beautiful. My courtiers called me The Happy Prince, and happy indeed I was, if pleasure be happiness. So I lived, and so I died. And now that I am dead they have set me here so high that I can see all the ugliness and all the misery of my city; and though my heart is made of lead, yet I cannot choose but weep.” [Text suggests suitable expression and gesture.] “What, is he not solid gold?” said the Swallow. [In an aside to the audience. | [Curtains of the frame are drawn slowly, disclosing the scene described in the text following. Music, “Poettc Tone Picture,’ No. 5, Grieg. | “Far away, far away in a little street, there is a poor house. One of the windows is open, and through it I can see—a woman seated at a table. Her face is thin and worn and she has coarse red hands all pricked by the needle, for she is a seam- stress. She is embroidering passion-flowers on a satin gown for the loveliest of the Queen’s maids of honor to wear at the next court ball. In the corner of the room her little boy is 68 CEREMONIES AND DEVOTIONAL PLAYS lying ill. He has a fever and is asking for oranges. His mother has nothing to give him but river water, so he is crying. [End of Music. Frame curtains closed. Pantomime follows text. | “Swallow, Swallow, little Swallow, will you not bring her the ruby out of my sword-hilt? My feet are fastened to this pedestal and I cannot move.” [Tue Prince makes an unsuccessful effort to free him- self from the pedestal. | “T am waited for in Egypt,” said the Swallow. “My friends are flying up and down the River Nile and talking to the large lotus-flowers.” [Indifferent to the plea, THE SWALLOow Mitts right. | “Swallow, Swallow, little Swallow,” said the Prince, “will you not stay with me for one night and be my messenger? .. . The boy is so thirsty and the mother so sad.” “T don’t puuale I like boys,” answered the Swallow. [Squirming out of the responsibility. | But The Happy Prince looked so sad that the little Swallow felt sorry. “Tt is very cold here,” he said, “but I will stay with you for one night, and be your messenger.” [THE SwALLtow bows before PRINCE. ] “Thank you, little Swallow,” said the Prince. So the Swallow picked out the great ruby from the Prince’s sword and flew away with it in his beak over the roofs of the town. He passed by the palace and heard sounds of dancing. A beautiful girl came out with her lover. THE HAPPY PRINCE 69 [Enter right on green, GIRL and LovER in masquerade costume. | “How wonderful the stars are,” he said, “and how wonder- ful is the power of love!” [Lover kneels and kisses her hand.] “I hope my dress will be ready in time for the state ball,” she answered. ! [Flippantly tossing her head. | “T have ordered passion-flowers to be embroidered on it, but the seamstresses are so lazy!” [They dance a gavotte. At conclusion of the dance, she runs off muischievously, left, he follows. End of music. | Shepherd Dance Grazioso 70 CEREMONIES AND DEVOTIONAL PLAYS At last he came to the poor house and looked in. [Curtains of frame are drawn. THE SWALLOow its seen peering in from the side of the frame. Music, “Heart’s-ease,’” Grieg. | The boy was tossing feverishly on the bed and the mother had fallen asleep, she was so tired. In he hopped and laid the great ruby on the table beside the woman’s thimble. Then he flew gently around the bed fanning the boy’s forehead with his wings. “How cool I feel!’ said the boy; “I must be getting better” ; and he sank into a delicious slumber. [Pantomime follows text through above; mother wakes with a start, feels boys forehead, finds him better, is thankful; she discovers ruby, is overjoyed. Curtains are drawn. | THE SHAPPY (PRINCE 71 Then the Swallow flew back to the Happy Prince and told him what he had done. [Tue Swatiow kneels before the PRINCE. ] “Swallow, Swallow, little Swallow,” said the Prince, “far, far away, across the city, I see a young man in a garret. [Curtains of frame open. Music, “Poetic Tone Picture,” No. 4, Grieg. | He is leaning over a desk covered with papers, his hair is brown and crisp, and his lips are red as a pomegranate, and he has large dreamy eyes. He is trying to finish a play for the director of the theater, but he is too cold to write any more. There is no fire in the grate and hunger has made him faint. [Pantomime follows text. Tur SwALLow is torn be- tween desire to join his kind and his wish to serve THE Prince. Finally he yields and kneels at the feet of THE PRINCE. | “T will wait with you for one night longer,” said the Swal- low, who really had a good heart. “Shall I take him another ruby ?” : “Alas! I have no ruby now,” said the Prince. “My eyes are all that I have left. They are made of the rarest sapphires, which were brought out of India a thousand years ago. Pluck out one of them and take it to him. He will sell it to the jew- eler and buy food and firewood and finish his play.” “Dear Prince,” said the Swallow, “I cannot do that.” And he began to weep. “Swallow, Swallow, little Swallow,” said the Prince, “do as I command you.” [THE PrINcE is ready for supreme sacrifice. THE 72 CEREMONIES AND DEVOTIONAL PLAYS SWALLOW twice attempts to obey THE PRINCE'S com- mand, but twice falls back, courage faling. THE PRINCE’S calm determination finally impels him to ac- tion. | So the Swallow plucked out the Prince’s eye and flew away to the student’s garret. It was easy enough to get in, as there was a hole in the roof. Through this he darted, and he came into the room (frame curtains open). The young man had his face buried in his hands, so he did not hear the flutter of the bird’s wings, and when he looked up he saw the sapphire lying near him. Pe [Text suggests pantomime. | “I am beginning to be appreciated,’ he cried; “this is from some great admirer. Now I can finish my play.” And he looked quite happy. [Frame curtains close. End of music. And when the moon rose the Swallow flew back to The Happy Prince. [SwALLow kneels. | “Swallow, Swallow, little Swallow, will you stay with me for one night longer?” “Tt is winter,’ answered the Swallow; “the chill snow will soon be here. In Egypt the sun is warm on the green palm- 5] trees.” “In the square below,” said the Prince, “there stands a little Match Girl. [Music, Mazurka, Opus 17, No. 4, Chopin. Enter, left, ragged little Matcu GIRL with arms full of matches. | THE HAPPY PRINCE 73 “She has let her matches fall into the gutter and they are all spoiled. [The Matcu Giru bends over the matches, which she has dropped in her zeal to sell them. | “Her father will beat her if she does not bring home some money, and she is crying. She has no shoes or stockings and her little head is bare. Pluck out my other eye and give it to her, and her father will not beat her.” “T will stay with you one night longer,” said the Swallow, “but I cannot pluck out your other eye. You would be quite blind then.” d [THE SWALLow is panic-stricken. | “Swallow, Swallow, little Swallow,” said the Prince (ma- jestically), ‘do as I command you.” So he plucked out the Prince’s other eye and darted down with it. [Very sorrowfully. | He swooped past the Match Girl and slipped the jewel into the palm of her hand. [End of music. The Matcu Girt lifts her head at the flutter of the bird’s wings. | “What a lovely bit of glass!’’ said the little girl, and she ran home laughing. Then the Swallow flew back to The Happy Prince. “You are blind now,” he said, “so I will stay with you always.” “No, little Swallow,” said the Prince, “you must go away to Egypt.” [Feeling for THE SwWALLow with his hands. | 74 CEREMONIES AND DEVOTIONAL PLAYS “T will stay with you always,” said the Swallow, and he slept at the Prince’s feet. All the next day he sat at the Prince’s feet, and told him stories of what he had seen in strange lands. “Dear little Swallow,” said the Prince, “you tell me of mar- velous things, but more marvelous than anything is the suffer- ing of men and women. There is no mystery so great as misery. Fly away over my city and tell me what you see there.”’ So the Swallow flew over the city and saw the rich making merry while beggars were sitting at the gates. [Music, “Skip Dance,’ Opus 38, No. 5, Grieg. Enter from right the Gay Procession. First CLown af- pears right; turns somersaults to center of green; falls awkwardly. SECOND CLOWN appears, right, with hands on hips; he stands laughing at him, motions to the rest of the Procession, “Way is clear, come on!” comes forward, jovially lifts First CLown’s feet, and exits with him, left, wheelbarrow fashion. SpanisH SENOR and SENORITA (in ammated conversation), lady lean- ing on arm of gentleman. Two MEDIEVAL CouURTIERS, lady languidly telling gentleman a story. He is appar- ently bored and yawns. PIERROT and PIERRETTE. They have quarreled; PIERROT seeks to explain it away; PIERRETTE 1s haughty at first, but finally relents. Two TROUBADOURS playing on guitars. ‘As GAY PROCES- sIon advances to center, a group of Poor CHILDREN enter, left, and stand watching in great awe. PROCES- SION goes off left, children come center and mimic the THE HAPPY PRINCE 75 “grandees.” Enter, left, BEGGAR Man, leaning on a stick. The street urchins pelt him with stones. He goes off, right, waving stick, while they follow taunt- ingly. Music, “Love Erotique,”’ Grieg. | Then the Swallow flew back and told the Prince what he had seen. “T am covered with fine gold,” said the Prince. ‘You must take it off and give it tothe poor. The living always think that gold can make them happy.” Leaf after leaf of fine gold the Swallow picked off, till the Prince looked quite dull and gray. Leaf after leaf he brought _ to the poor. [THE SWALLOow scatters gold on the ground and stands aside to watch. The returning Poor CHILDREN dis- cover the gold and summon the old Beccar Man. All pick up gold, make merry, and dance about the BEGGAR Man. Music, “Skip Dance,’ Opus 38, No 5, Gneg.] The children’s faces grew rosier and they laughed and played games in the street. “We have bread now!” they cried. [They dance off right. Music, “Love Erotique,’ Opus 43, No. 5, Grieg.]| Then the snow came, and after the snow came the frost. The poor little Swallow grew colder and colder and tried to keep himself warm by flapping his wings. But at last he knew that he was going to die. He had just strength enough to fly to the Prince. “Good-by, dear Prince,” he murmured. “Wall you let me kiss your hand ?” “T am glad you are going to Egypt,” said the Prince; “you 76 CEREMONIES AND DEVOTIONAL PLAYS have stayed too long here; yes, you must kiss me, for I love you.” | “It is not to Egypt that I am going,” said the Swallow; “T am going to the House of Death.” And he kissed the Prince and fell down at his feet. At that moment a curious crack sounded within the statue, as if something had broken. The fact is the leaden heart had snapped right in two. [Tuer PRINCE puts his hand to his heart; then his head droops slowly. Stage curtain 1s slowly drawn. | “Bring me the two most precious things in the city,” said God, to one of His angels; and the angel brought Him the leaden heart and the dead bird. | d9 COSTUMES THe Happy Prince: Doublet and hose of gilded material; crown; belt and sword. Wire screening, gilded, makes effective crown, and sword may be fashioned from wood or pasteboard. THE SWALLOW: Foundation of steel-blue cheese-cloth cov- ered with bands of scalloped material to suggest feathers; breast, dull-orange scallops; head-dress, a close-fitting cap of steel-blue, edged with orange scal- lops. THe Reep: Full-length clinging gown of green cheese-cloth. Slender effect can be achieved by sewing long strips of green material to neck-band. THe Mayor: Flowing robe of black or purple of college- gown design; imposing hat with feather. THE Town CounciLor: Gray robe; purple tam. CHARITY CHILDREN: Dull gray dresses, white aprons, scarlet capes with hoods. GIRL AND Lover: Pierrot and Pierrette costumes. Tue SEAMSTRESS: Simple brown dress; sewing-apron. Tue Sick Boy: Wrapped in shawl. Tue Poet: Blue smock; black Windsor tie. Tue Matcu Girt: Ragged dress which she has outgrown; shawl on head. 77 78 CEREMONIES AND DEVOTIONAL PLAYS THE Gay PROCESSION: First Clown: Clown costume of black and white. SEcoND CLown: Orange-and-black clown costume. SPANISH SENOR: ‘Tight knickerbockers; cape; black plumed hat; buckled slippers. SPANISH SENORITA: Full skirt of bright color; flowered shawl; fan; large comb. Two Mepievat Courtiers: Lady, high-waisted gown of purple; cone-shaped head-dress, with crimson flow- ing scarf. Man, doublet and hose of green sateen; large plumed hat. PIERROT AND PIERRETTE: Black and white of usual design. Two Trousapours:. First Troubadour, tan doublet and hose; cape lined with bright green. Second Trouba- dour, red minstrel costume trimmed with silver. They carry guitars. Poor CHILDREN: ‘Tattered clothes; some are dressed as boys and others as girls. Beccar Man: Torn coat; burlap sacks wrapped about feet for shoes; carries stick for cane. READER: Gray cheese-cloth, falling in graceful folds; with long loose sleeves; head scarf of same material. ‘ 3 ~ % a mm wor owe So -_ suger or 20" AUDIENCE STAGE DIAGRAM 1 STATUE OF Happy PRINCE 2 READER 3 REED J 4 L Bae : i ‘ + PART II Dramatized Folkways < A —— nme = a ay Se don “ “ > Fee ST aagy fi 7 : Zi , Oe rl ‘ i ‘\ sok Acs er & ~ ate ME ae A - W/Z =. Vt i mi y BORON KERR | eae Pes \: TE a " H i ; ‘ Wet i LN! “ft =| | 1 4 } lh F ie tHe GATE ObeTHE WEST A DRAMATIZATION OF SCUM 0’ THE EARTH THE PLAYERS GREEK YOUTH PoLtisH MOTHER CzecH FIDDLER ITALIAN Boy HEBREW MAN READER THe GATE OF THE WEST A DRAMATIZATION OF ROBERT HAVEN SCHAUFFLER’S POEM “‘SCUM O’ THE EARTH”’ The following poem,' is a plea to respect the individuality of the immigrant. SCENE: The curtains are partly drawn, disclosing a screen or back-drop. The Players enter, right. The READER stands before the curtain, left. [GrEEK YouTH enters right, and stands motionless against the screen. | At the gate of the West I stand, On the isle where the nations throng. We call them “scum o’ the earth.” [Music, “Patriotic Song,’ Grieg.] Stay, are we doing you wrong, Young fellow from Socrates’ land ?— You, like a Hermes so lissome and strong, Fresh from the master Praxiteles’ hand? So you ’re of Spartan birth? Descended, perhaps, from one of the band— Deathless in story and song— | Who combed their long hair at Thermopyle’s pass? .. . 1From “Magic Flame and Other Poems.” Copyright, 1923, by Robert Haven Schauffler (Houghton Mifflin Co., Boston and New York.) 85 86 DRAMATIZED FOLKWAYS Ah, I forget what straits, (alas!), More tragic than theirs, more compassion-worth, Have doomed you to march in our “immigrant class” Where you ’re nothing but “scum o’ the earth.” [GREEK YoutHu exits left. Music, Mazurka in'A Minor, Opus 17, No. 4, Chopin. Portsh MotTHeEr enters right, crooning a tune to her baby. | You Pole with the child on your knee, What dower bring you to the land of the free? Hark! does she croon The sad little tune That Chopin once found on his Polish lea And mounted in gold for you and for me? [Eait Pottsh Motuer, left. Enter CzEcH FIppLer, right, who pantomines playing “wild Czech melody.” Music, “Songs My Mother Taught Me,’ Dvorak on violin, off stage. | Now a ragged young fiddler answers In wild Czech melody That Dvorak took whole from the dancers. And the heavy faces bloom In the wonderful Slavic way ; The little dull eyes, the brows a-gloom, Suddenly dawn like the day. While, watching these folk and their mystery, I forget that we, in our scornful mirth, Brand them as “Polacks’”—and ‘“‘scum o’ the earth.” [Exit Czecn Fippier. Music, “Santa Lucia.” Enter ITALIAN Boy. ] THE GATE OF THE WEST 87 Genoese boy of the level brow, Lad of the lustrous, dreamy eyes Agaze at Manhattan’s pinnacles now In the first sweet shock of a hushed surprise; Within your far-rapt seer’s eyes I catch the glow of the wild surmise That played on the Santa Maria’s prow In that still gray dawn, Four centuries gone, When a world from the wave began to rise. Oh, who shall foretell what high emprise Is the goal that gleams When Italy’s dreams , Spread wing and sweep into the skies? Cesar dreamed him a world ruled well; Dante dreamed Heaven out of Hell; Angelo brought us there to dwell. And you, are you of different birth >— You ’re only a “dago,” and “scum o’ the earth!” [Exit ITALIAN Boy, left. Enter, nght, HEBREW Man bowed by sorrow; heavy pack on shoulder. Music, “Kol-Nidrev’ (Hebrew Ritual Melody) is played on violin.| (Music page 88.) Stay, are we doing you wrong Calling you “scum o’ the earth,” Man of the sorrow-bowed head, Of the features tender yet strong,— Man of the eyes full of wisdom and mystery Mingled with patience and dread? Have not I known you in history, Kol Nidrei Rae 3 | HR) ; | = pee gs 3 Al) P Eas Wt : i NAIA NY |W IL fill IT} “KS [Hh | ll i ‘ eal ut i | Pf i it lr ie ait iS ing ihn mtr it | He RR iil Holey We IU ss | | ry) BP i IE He ai a Ho Wl W Ce ae ee ee ee THE GATE OF THE WEST 89 Sorrow-bowed head? Were you the poet-king, worth Treasures of Ophir unpriced ? Were you the prophet, perchance, whose art Foretold how the rabble would mock That shepherd of spirits, ere long, Who should gather the lambs to his heart And tenderly feed his flock? Man,—lift that sorrow-bowed head . . . [He lifts head in supplication. ] Behold, the face of the Christ! The vision dies at its birth. You ’re merely a butt for our mirth. You ’re a “sheeny’—and therefore despised And rejected as “‘scum o’ the earth.” [Hesrew MAN evitsleft. Without music. ] Countrymen, bend and invoke Mercy for us blasphemers, For that we spat on these marvelous folk, Nations of darers and dreamers, Scions of singers and seers, Our peers, and more than our peers. “Rabble and refuse,” we name them, And “scum o’ the earth,’”’ to shame them. Mercy for us of the few, young years, Of the culture so callow and crude, Of the hands so grasping and rude, The lips so ready for sneers At the sons of our ancient more-than-peers. 90 DRAMATIZED FOLKWAYS Mercy for us who dare despise Men in whose loins our Homer lies; Mothers of men who shall bring to us The glory of Titian, the grandeur of Huss; Children in whose frail arms may rest Prophets and singers and saints of the West. Newcomers all from eastern seas, Help us incarnate dreams like these. Forget and forgive that we did you wrong. Help us to father a nation strong In the comradeship of an equal birth, In the wealth of the richest bloods of earth. [The assemblage sings “America the Beautiful.” ] COSTUMES GREEK YOUTH: Peasant blouse; short trousers; bright green sash. PotisH MotuHer: Bright printed head kerchief, full red skirt with embroidered border; heavy knitted shawl envelop- ing baby. CzEcH Fippier: Soft black tam, blouse with ruffled collar; trousers three-quarter length; black flowing tie. ITALIAN Boy: Baggy trousers, too large for him; cap over one ear; shirt ragged at the cuff. Hrsprew Man: Loose garment; pack on shoulder. der. READER: Simple draped robe of gray. OI FOUR FRENCH BALLADS FATHER WIsHES ME To Marry THE THREE PRINCESSES BE Not Too Harp To PLEASE, DEARS Tur Kine Orpers THE DruMs TO BE BEATEN The folk quality of these old French ballads is expressed in quaintness of costume, plaintiveness of melody, and in the char- acteristic pantomime. They are not to be sung as solos merely, but rather as interpretations growing out of the folk scenes. oy inh FATHER WISHES ME TO MARRY opie ? oy ( . i 4 5 oe i My rant a “i { “THE PLAYER Tue Lirrte SHEPHERD Girt ( y ’ . le b3 Leet i i \ f 3 , s { f ; ; a Sif : F ray) j ; : A “ f 5 i iio FATHER WISHES ME TO MARRY Part of the charm of this little ballad of one verse and two choruses lies in its brevity—a whiff of life from old peasant France. SCENE: Outdoors, of course! Music: [The music is played through once as THE LITTLE SHEPHERD GIRL dances from behind shrubbery, left, down center front, quite close to the audience, and, in confidential manner, sings her story. | Father wishes me to marry, Father wishes me to marry, A handsome shepherd lad. Chorus. Yea, I skip and dance A joyous dance And sing a marriage song. I turn my spinning-wheel And guard my sheep from wrong. [During second chorus, LITTLE SHEPHERD GIRL dances off, right. As she finishes chorus, up-stage right, she faces audience, curtsies coyly, and runs off. | COSTUMES Costumes for the ‘French Ballads” may be fashioned after the illustrations. 97 Mon Pére Me Veut Marier M.M. c= 120. Allegretto Moderato 1. Mon pé - re me veut ma - ri-er, Mon 2. A - vec le plus jo - li ber-ger, A - 3. Un obra - ce-let il ma _ don-né, Un 4. Un de - miceintd’ar-gent do-ré, Un 5. A - vec. l’agraffe aA mon c6-té, A- 6. Un beau cor-set tout sa - ti- né, Un . Le ba - vo-let bien em - pe-sé, Le re me veut ma - ri-er A- vec le plus jo- vec le plus jo - li ber-ger: Un bra -ce- let il bra - ce-let il m’a don-né, Un _ de - mi ceint d’ar- de - miceint d’ar-gent do-ré, A - vec la-graffe a vec l’a-graffe a mon cd-té, Un beau cor - set tout beau cor-set tout sa - ti-né, Le ba - vo- let bien ba vo-let bien em - pe-sé, Et la cot-te de Mon Pere Me Veut Marier—Concluded sos ee Se Ron RIA Goria Gcuvay Gane NOaa” Maal eel SOLO" Maes eee | te 7 Sateen mama ta TER a EE ee sere ae CREE a ES NG EE PT TE PL li ber - ger, A - vec le plus jo - li_ ber - ger. m’a don - né, Un bra-ce - let il m’a don- né. gent do - ré, Un de- mi ceintd’ar-gent do - ré. mon cé6 - té, A - vec l’a-graffe A mon cd - té. sa - ti - né, Un beau cor- set tout sa - ti - né. em - pe - sé, Le ba- vo- let bien em - pe - sé. da - mas - sé, Et la-cot-te de da- mas - sé. ne eae a a Ne Basak Ge eas 7 Tai We A iS) 4S by Bo See ee Spree 7 a oe” CES TEN MATTER we ve Ce sau-te,je dan-se,Je vaisencadence, Et je dis meschan- er Ne | Gr iw 2S BPS ee ae aS = Sy Sa De a hs 8 Be A ae A LES Sa a = =| ) — Kt waiter Ix x’ ‘vat ie TL THE THREE PRINCESSES bbe A RS First PRINCESS SECOND PRINCESS THIRD PRINCESS Two SmaLtL MoorisH PaAGEs THE THREE PRINCESSES This old ballad has a piquant charm. The little Moorish pages, the richly gowned Princesses, the constant sound of drums in the distance, give us the atmosphere of the old romanticism of France. SCENE: An open green. [After the introduction is played, THE THREE PRIN- CESSES, followed by two MoorisH PacEs, enter, left, singing first quatrain. THE PRINCESSES flutter thet fans rhythmically as they sing. | | Tue THREE PRINCESSES In our father’s garden,— Be still, be still, my heart, be still,— In our father’s garden There stands an apple-tree. So large and laden, So large and laden Is that apple-tree. [Tue PRINCESSES courtesy to the audience and seat them- selves gracefully on the ground. The Paces hold parasol over them, and sing the following] THe PAGES Three Princesses so fair,— Be still, be still, my heart, be still,— 102 DRAMATIZED FOLKWAYS 103 Three Princesses so fair Recline within its shade, So sweet, demure, So sweet, demure, Each lovely royal maid. [First Princess looks afar off and listens. Tur Paces hold parasol over her. | Tue PAGEs So says the first— Be still, be still, my heart, be still— So says the first. [Music suggests the beating of drums. | First PRINCESS I hear a martial air, Quite faint and far, Quite faint and far, I hear a martial air. [SEconp Princess listens. The Paces shade her with parasol. | THE PAGES So says the second— Be still, be still, my heart, be still— So says the second. SECOND PRINCESS I hear the sound of drums, Quite faint and far, Quite faint and far, Lo! the army comes. 104 FRENCH BALLADS [Tue Turee Princesses rise and look off left. The Paces step back and shade THIRD PRINCESS. | THE PAGES So says the third— Be still, be still, my heart, be still— So says the third. Tuirp Princess [Shading her eyes] It is my beloved, My own true love, My own true love, It is my beloved. [Tue TuHree PrINcEssEs advance a little to left, facing imaginary passing army; they wave their little lace handkerchiefs and weep softly as they sing | Tue THREE PRINCESSES He is marching off to fight,— Be still, be still, my heart, be still,— He is marching off to fight, My own true love, My own true love, To war for love and right. Should he lose or should he win,— Be still, be still, my heart, be still,— Should he lose or should he win, My own true love, My own true love, Ever will I love him. DRAMATIZED FOLKWAYS 105 [Tue PRINCESSES exit quietly, still waving, as they re- peat last verse.| Should he lose or should he win,— Be still, be still, my heart, be still,— Should he lose or should he win, My own true love, My own true love, Ever will I love him. [The Paces follow. | Derriere Chez Mon Pere Allegretto p Der - riér’ chez mon Ral Ea Ine 23° Geel Por a eee 2) De |_| TD, A) WY >" CELLS A EE EE SH 5 ee Re ee eee a eS eee Derriere Chez Mon Pere—Concluded qq ————— __ f aiempo J 02i JU Se Ss SER aS ee EE 2 (a Eo eee ea (40 @ Ba y= —-0—_ 9 — 4 a 2B RSE BAe ea lou! Lb, cyan ia. sun? «tour! Fo eee ay. aah f SS i LL mannan sma ued | i (25° 2. “~~ ee “ae ee ee | yO ee | ee ee Ue Rt ; : a es ee | : AS cS. eS re | Bee 4. = - - - * senza Ped. eee Mh | ' i] \ ' = pee — acco —— —_ — ——} j | "| Poet LOO HARD TO PLEASE, DEARS Aiea A TAS S1x MAIDENS An OLp GENTLEMAN BE NOT TOO HARD TO PLEASE, DEARS Here we have experienced age counseling youth in the af- fairs of the heart, and youth, as ever, skeptical. ScENE: On the way to the well. [The music is played through once, as two MAIDENS en- ter, left, carrying water-pitchers. One 1s telling the other excitedly about a new gown. Enter, left, a little MAIDEN trying to tug a water-pitcher much too large. She tries to attract the attention of the big sister, who, listening, is too absorbed to notice. The little sis- ter pulls at her skirt. Unsuccessful, she goes back pouting. From right, walking rhythmically, enters MAIDEN carrying full water-pitcher on her shoulder. Two others follow, first MAIDEN carrying pitcher, and second MaIpEN dancing ahead to show her new slip- pers. Both groups meet at center, greet each other, and are about to pass on when AN OLp GENTLEMAN, lean- ing on his cane, appears up-stage center. They gather about him as he sings in “grand manner:’ | Be not too hard to please, dears, When some gallant comes to woo. You may spend your youth in tears, Should none make love to you. ‘Be not too hard to please, dears, 110 DRAMATIZED FOLKWAYS 111 When some gallant comes to woo. ‘Be not too hard to please, dears, When some gallant comes to woo. [During the interlude, the pantomime is as follows: two MaIpENs turn aside giggling, two listen with feigned politeness, while the other two hang their heads in em- barrassment, as the OLD GENTLEMAN addresses them. | Be not too hard to please, dears, When some gallant comes to woo. An offer once refused, May ne’er return to you. ‘Be not too hard to please, dears, When some gallant comes to woo. 'Be not too hard to please, dears, When some gallant comes to woo. [THE OLp GENTLEMAN hobbles off, waving: his cane ad- monishingly while singing the last lines. The MaIpENs laughingly repeat the chorus. They pass each other and go off in opposite directions. | Gardez-vous D’Etre Severe M.M. . = 76. Andantino 1. Gar dez-vous dé - tre Quand on vous par - 2. Gar dez-vous dé - tre Quand on vous par - Vo-tre coeur, jeu Un plai-sir que Gardez-vous D’Etre Severe—Continued RES Te Be eee Se L io BSE Red Ci A Ee ee Oe 2) Se. Es PE Pe ee [SESS ees is S’en re-pen-ti - rait...... Se perd sou-vent sans..... Gar-dez-vous dé - tre Quand on vous par - Gar-dez-vous dé - tre Quand on vous par - le d’a mour. Gar-dez-vous dé - tre sé le d’a mour. Gar-dez-vous dé - tre sé ) as VE Sa ed eee he ee ee! EE Fl I es pe x a a >| 5 ——=| gj, —-—_*}— —=} —_} (i Re ALS” el | TREATS , Rete Irae )—_____©___#@ _—|---_--_——@\— RS Sees Eee ae ee eo cresc. mf ai Pease Sone eee 82 fo ee eee BP ra ee eo? _t—_—_———— | -— eee eee Concluded >) vere— - A Gardez-vous D’Etre mour.. eee mour.. eee d’a d’a Quand on vous par - le Quand on vous par - le re, re, THE KING ORDERS THE DRUMS TO BE BEATEN THE PLAYERS THE KING THE QUEEN THE JESTER THe DUKE Tue DucHESsS SEVERAL COURTIERS THE KING ORDERS THE DRUMS TOsEe BEATEN [ The JESTER sings the entire ballad for the action indicated below. | ScENE: The Court. Tur Kine and QUEEN are seated on throne. THE JESTER “Beat the drums,” commands the King; “Beat the drums,” commands the King; “All my court together bring To pay homage to their King, To pay homage to their King.” [THE JESTER, seated on dais to left of THE KING, descends throne, and, with much flare, goes to right, beating drum. SEVERAL CourTIERS approach. THE JEsTER bows himself back to dats, left, singing: THE JESTER All the court together come In answer to the martial drum. The Duke and Duchess, hand in hand, The loveliest lady in the land, The loveliest lady in the land. CHORUS Rat-a-plan-rat-a-plan-plan-plan-plan-plan, Rat-a-plan-rat-a-plan-plan-plan-plan-plan! 116 DRAMATIZED FOLKWAYS ey [SEVERAL CourTIERS enter, bow before the royal pair, and retire to background. Enter, right, THE DUKE and DucHESS; they stand on threshold for a moment as THE DUKE bows and makes way for THE DUCHEss to enter. | THE JESTER When once the King the Duchess spies, His heart within him boldly cries: “Oh, I must have her for my own, To share with me my royal throne, To share with me my royal throne.” [THE DucHEss comes to the throne and courtesies to THE Kinc. THE DUKE follows. THE King, startled by the beauty of THe DucHEss, rises and bows deeply. THE JESTER mimics action. Tur DucHEss, embar- rassed by the steady gaze of THE KING, turns toward THe Duke. Entire court watches. THE JESTER por- trays his feeling of foreboding in his singing of the chorus | CHORUS Rat-a-plan, rat-a-plan-plan-plan-plan-plan- Rat-a-plan, rat-a-plan, plan, plan, plan, plan! THE JESTER The King speaks out in accents bold, \ The King speaks out in accents bold: “Who is this beauteous lady fair?” “She is my wife, this lady fair; She is my wife, this lady fair,” 118 FRENCH BALLADS CHORUS Rat-a-plan, rat-a-plan-plan-plan-plan-plan Rat-a-plan, rat-a-plan, plan, plan, plan, plan! [THE DuKE and DucHEss bow to each other and then bow in homage to THE Kina THE JESTER bows to the ill-fated DUKE and DuUCHESss. | THE JESTER “Give her to me,” the King demands, “Lord you shall be of all my lands.” [THE DUKE with impotent rage | : “Were you not King, for this you’d pay; But since you ’re King, I must obey. Yea! since you ’re King, I must obey.” CHORUS Rat-a-plan, rat-a-plan-plan-plan-plan-plan Rat-a-plan, rat-a-plan, plan, plan, plan, plan! [Tue Kine is majestic; THE QUEEN bristles with jeal- ousy; THE DUKE 1s crushed; THE DuCHEss 1s fright- ened; the court horrified; THE JESTER, distrustful, watches THE QUEEN. | THE JESTER | The Queen, in silent jealousy, Arises in her majesty, [Offers bouquet of flowers to THE DucHEss. ] “T do beseech you, Duchess fair, Accept these fragrant flowers rare. Accept these fragrant flowers rare,” DRAMATIZED FOLKWAYS 119 CHORUS Rat-a-plan, rat-a-plan-plan-plan-plan-plan Rat-a-plan, rat-a-plan, plan, plan, plan, plan! [Tue Duxe and Ducuess embrace in farewell. THE QUEEN, with feigned graciousness, offers flowers. THE JESTER is suspicious. | THE JESTER ' The Duchess meekly bows her head, And reaches for the roses red. Their poisonous fragrance fills the air. The Duchess swoons—the Duchess fair— The—Duchess—dies—the—Duchess—fair ! CHORUS Rat-a-plan, rat-a-plan-plan-plan-plan-plan Rat-a-plan, rat-a-plan, plan, plan, plan, plan! [Tue DuKE prostrates himself beside THE DUCHEsS; Tue KInG is dazed; THE QUEEN defiant; THE JESTER bewails the tragedy as he repeats chorus. | CHORUS Rat-a-plan, rat-a-plan-plan-plan-plan-plan Rat-a-plan, rat-a-plan, plan, plan, plan, plan! [CurTAIN ] Le Roi Fait Battre Le Tambour iiss ‘ I ey : : : bly | VERSE. a tempo ¢ Ng TT i il i 5an ih. yb My ow 3 | > § | 5 nm or | { S Ihe | Ar Bot RM | ; Y mit air | HE o te @ PE o Le Roi Fait Battre Le Tambour—Concluded tM 1 ei ee ee ee BSS Gi eer FP BS eee 5 Pe Bl ee PS | af SERED | A A fio T 2 a eR Be eS BP Lie SS ARS Ed Se eee ES) ‘| {CR SS Wt 2 eS RES | Interlude before each verse, then use same for finish. an - “| on ‘LL Uae ee ee ee A | SSS ee 7 SEES EE Ee ES ib UA rn ee ee a I ee ne a S27 + _g—___f AZ ASS! Ee SRE EES i rN iC. ae SSS ae ee Eee eee a wt a aS Ae 0 a ——_ jane” v fas =] ee SS i a 222 (ey See t ts HINDU WEDDING CEREMONY THE PLAYERS BRIDE GROOM Two PRIESTS SERVING WOMAN Six NautcH Mamens Court MusIcIaAn HINDU WEDDING CEREMONY The following is one of the various marriage festivals among the Brahmin of India. It is, of necessity, abridged, since the usual wedding fétes continue through an entire week, allotting long devotional rites to each day. Music: The music for this ceremony has been taken from Ratan Devi’s “Thirty Indian Songs,” an initial effort to record the hitherto unwritten music of India. ScENE: A room in the BripE’s home, bowls of burmng incense. Dats, as indicated in diagram on page 136, at back of stage. Two cushions for WIsE MEN at right of dais. Seven cushions at left for NautcH MAIDENS and SERVING WomAN; flowers strewn on stage and das. PROLOGUE FOR WEDDING CEREMONY [THE Court Musician enters, right stage, comes to cen- ter, reads the Prologue, and then sits on steps before curtain, left, and plays on Mus stringed instrument the music for the ceremony. The melody may be “picked” on a violin or a guitar, as a substitute for the “Sitar” used in India. | PROLOGUE In paths of righteousness may Brahmin tread, And high esteem the high deserving wed. May kine yield streaming milk, the earth her grain, And may the heaven give never-failing rain, 125 126 DRAMATIZED FOLKWAYS Praise M.M. eee 104. Tranquillo e legato Hindu Melodies f) SELES ED EEE EPL S ESE TRA R PT BRS WE ee GP. QUE Ee RD ) ee) ee TY ST RE A NE ee Of (ao, WER SURE ESS BE A a ee ee a ae La Repeat D.C. several times, then No. 9 16 COSTUMES FOR “PEASANT BETROTHAL” Woman: White peasant blouse; full red skirt; white hose, black slippers; apron of gaily printed material; bright neckerchief and head scarf. Man: Red blouse; dark knickerbockers; black skull-cap; boots. COSTUMES FOR “DANCE OF RECONCILIATION” Girts: Full skirts of red or yellow; white peasant blouses with gaily colored ribbons hanging loose from back of neckband; white hose, black high-heeled slippers; colored beads. WeEppINnG Guests: Costumes similar to those above (see Costume Book). 143 d ‘ oe ; Bes > rr, ‘ % ‘ . fi h t x \ ; ¢ ” 4 . i —— Fi —— “THE WRAGGLE TAGGLE GIPSIES, 0” The following is suggestive of a colorful way of using the old English ballads, many of them already known to young people. The Players pantomime the story sung by the assem- blage. THE PLAYERS THE Lorp Tue Lapy A SQuIrE THE GIPSIES “THE WRAGGLE TAGGLE GIPSIES, 0” ScENE: A back-drop of gray 1s painted to sug- gest a castle. As the curtains are drawn THE Lapy 1s seen at the castle window, a square cut in the back-drop. SCENE | [THREE GIPpSIEs stand beneath the castle window, luring the Lapy with their songs. | ASSEMBLAGE 1. Three gipsies stood at the castle gate, They sang so high, they sang so low, The Lady sate in her chamber late, Her heart it melted away as snow. 2. They sang so sweet, they sang so shrill, That fast her tears began to flow. And she laid down her silken gown, Her golden rings and all her show. 3. She pluckéd off her high- heeled shoes, A-made of Spanish leather, O. 147 148 DRAMATIZED FOLKWAYS She would in the street, with her bare, bare feet; All out in the wind and weather, O. [Tur Lapy removes her jewels and silken cape. She ex- presses desire to share the life of freedom of which they sing. Quick curtain. | 4. It was late last night when my lord came home, Enquiring for his a-lady, O! The servants said, on every hand: “She ’s gone with the wraggle taggle gipsies, O!” ScENE II [THE Lorp is seen at the castle window. He is dis- traught; gestures to A Squire below:] ASSEMBLAGE 5. ‘“O, saddle to me my milk-white steed, © And go and fetch me my pony, O! That I may ride and seek my bride, Who is gone with the wraggle taggle gipsies, O!” [Curtain] Os; he rode high, and he rode low, He rode through wood and copses too, Until he came to an open field, And there he espied his lady, O! [ Repeat verse 6.] SceneE III [Back-drop has been removed. THE Lapy 1s seated on the ground with the Gipsies. The Lorp beseeches:] ASSEMBLAGE 7. “What makes you leave your house and land? Your golden treasures for to go? “THE WRAGGLE TAGGLE GYPSIES, 0” 149 What makes you leave your new-wedded lord, To follow the wraggle taggle gipsies, O?” [The Lapy rises and, with charming defiance, panto- mimes. | 8. “What care I for my house and my land? What care I for my treasure, O? What care I for my new-wedded lord? I’m off with the wraggle taggle gipsies, O!”’ [Lorp, protectingly | g. “Last night you slept on a goose-feather bed, With the sheet turned down so bravely, O! And to-night you ’Il sleep in a cold open field, Along with the wraggle taggle gipsies, O!” [Lapy, with fervor] 10. “What care I for a goose-feather bed, With the sheet turned down so bravely, O? For to-night I shall sleep in a cold open field, Along with the wraggle taggle gipsies, O!” [ CURTAIN ] The Wraggle-taggle Gipsies, O! Allegro commodo English Folk Song COSTUMES Tue Lapy: Princess gown of blue; silk hooded cape of gold color; pearl necklace; rings. THREE GripsiEs: Full skirts of bright colors; bright ban- dannas on head and about waist ; beads; round gold ear- rings. Tue Lorp: Green doublet; tan hose; green cape lined with tan; green hat with tan plume. A SqurrE: Gray doublet and red hose; gray cape lined with red; red tam with plume. 150 JAPANESE LIFE SCENES Juty—Tue Feast or LANTERNS AUGUST—SUMMER IN KyoTo SEPTEMBER—I1HE FEAST OF CHRYSANTHEMUMS AT THE TEMPLE GATE In no other country do we find poetry and symbolism so much a part of every-day living. The Japanese have made ceremony of the niceties of routine—the arranging of flow- ers, the serving of tea, putting the child to sleep. So each day becomes a new setting for a never ending ritual. The Sum- mer Festivals here presented display devotion to the Celestial One, a unique love of nature, and a childlike spirit of merry- making. —__llelK <= I-ll/ S Iei7 ge MITER ((resarees Te Hilt AT THE TEMPLE GATE ScENE: A small screen at center of stage. [ Enter, left and right, Two TEMPLE PRIESTS, who remove screen silently. Animage of BUDDHA ts disclosed, with bowl of burning incense before tt. THE Priests bow reverently before the BuppuA and bend over bowl to bless the sacred incense, then step to etther side of BuppHa, heads bowed, and arms crossed. Enter, left and right of green, THE WoRSHIPPERS, who come by twos, heads bowed; they walk to center and prostrate themselves before the BuppHa. When all THe WorSHIPPERS are prostrate, they raise their arms over their heads, and then lower them to the ground im abject humility. They rise very slowly, ascend steps, each couple pausing a moment to inhale the blessed incense. They exit into the temple for worship. THE PRIESTS ascend steps, draw screen about the BUDDHA and proceed to the inner temple. | 167 PART III Allegories ae =~ e IZA SA) \) a \ nr Lo aa i! a a Os) /) LAN NS ANY A SS Wes a) WS — —= SS Ve Will ; [a oe, { | : WG ai iN a Sh | | IANS “i f AS | MENLO ¥ st s = ) ce | F 772 LIL AM: AW i SSS | i His 5 | > oe oman am 7/7, eee Pert S a a ie Chet) % AN eu NEW WINDOWS—A PANTOMIME THE PLAYERS Tue CHILD IMAGINATION Music PoETRY DRAMA DANCE THE ARTS NEW WINDOWS SYNOPSIS In this pantomime we see the modern child who is bored. Her mood is, “Oh, what shall I do? Oh, what can I do?” IMAGINATION, lonely and neglected, comes to seek the com- panionship of THE Cuitp. She invites her into a world of fantasy and make-believe, but THE CHILp is not interested. IMAGINATION, disheartened, appeals to THE Arts-—Music, Poetry, Drama, and DANcE—to help her bring THE CHILD back to her natural interests. First, Mustc comes, playing an exquisite melody on her lute. THE CHILD is stirred by the beauty of sound; but soon lapses into her former indifference. PoEtTRY, seeking to reveal to THE CHILD all the wonders of nature, creates a poem for her, telling of the mystery of a blade of grass, a passing cloud, the full-throated song of a tiny spar- row, the symmetry of a snow-crystal. Next comes Drama, who portrays the struggle which chil- dren experience when their desires are frustrated. We see her conquer her disappointment. THE Cuitp is by this time aware that “‘the world is full of a number of things.” DANCE enters and invites THE CHILD to express her joy- ousness through rhythmic movement. THE CHILD responds and dances forth out of doors with IMAGINATION and THH ArTS, who have opened new windows into her soul. 173 174 ALLEGORIES (Note :—Definite words are used to express the idea back of each action. ) Music: Children’s Scenes, “Child Asleep,’ Schumann. [As curtain is drawn, THE CHILD is seen; she panto- mimes playing with ball, tires, walks to left languidly, reaches for doll, quickly discards it; comes to right, Where she finds imaginary book, rumples pages, and closes book with disgust. She abandons herself to com- plete boredom. | IDEA OF THE CHILD: Oh, what shall I do? What can I do? Music: “May Night,” Palmgren. [IMAGINATION enters, left floor-space, dejected, sees THE CHILD, expresses pleasure, ascends steps, and ex- tends arms to her. | IpEA OF IMAGINATION: Oh, come with me, Child, into my world. There you will play with pixies and gnomes, and see glow-worms light their tiny lamps. [CHILD 1s uninterested and shrugs her shoulders. Dis- couraged, IMAGINATION 1s spurred to action. | IpEA OF IMAGINATION: I must call the Arts to help me. [She runs forward to right and then left, summoning with arms outstretched. | Come, Music, come Poetry, Drama, and Dance! We have lost the Child, and we must restore her to childhood. NEW WINDOWS 178 Music: Mazurka in A Minor, Opus 17, No. 4, Chopin. [ Enter, left floor-space, Music, playing on her lute. In rhythmn to her own music, she advances toward THE CHILD, swaying and circling. As she fimshes, she looks up expectantly. Tur Cutz, pleased, rises to her knees; but as Music ceases her playing, she slumps to her former state of boredom. Music, disappointed, drops her lute and steps into the background, left. | Music: “Poetic Tone-Picture,’ Opus 3, No. 4, Grieg. [ Portry enters, right, wrapt in dreams; comes to center foor-space and, upon seeing THE CHILD, pantomimes a newly created poem for her. | IpEA OF POETRY: The mystery in a blade of grass, a passing cloud, the full- throated song of a tiny sparrow, the symmetry of a snow- crystal. [THE Cuttp claps her hands in delight. | Music: Introduction to “Symphony Pathétique,’ Bee- thoven. - [Drama, with arms extended, comes forth trustfully, to . follow her desire. Interfering forces pull her back- ward; she struggles with them, pulls her arms free, and again goes forth. At this point, a great disap- pointment crushes her; she weeps disconsolately, but, with effort, gradually rises to her feet, draws herself to her full height, and faces THE CHILD, triumphant. THe CuILp, who has watched breathlessly, rejoices at the outcome of the struggle. | 176 ALLEGORIES Music: Waltzgin A Flat, Brahms. [DANCE enters at this moment of elation. She imvites THE CHILD to dance with her. THE CHILD responds. | IDEA OF THE CHILD: [As she greets IMAGINATION and THE ARTs, each in turn. | Oh, my dear, dear friends! I will keep you with me always. Music: Presto Movement from Seventh Symphony, Beethoven. [All dance. Then TuE Cuitp breaks through the circle, and taking IMAGINATION as a partner, she leads THE Arts into the Outdoors. | COSTUMES THE CHILD: Simple white dress. IMAGINATION: Gown of rose-color, in graded tones. Music: Flowing robe of gray-blue, Grecian in effect; scarf of midnight-blue draped from left shoulder; silver head-band. | Tue Port: Grecian tunic of soft green. Drama: Gown of vivid orange. Dance: Yellow gown of Grecian design as above. 177 eS ‘slit og WES awh Se fe ¢ ENTRANCE FoR § AMAGINATION \ ann DRAMA, ( ENTRANCE FoR a” 7 ENTRANCE FOR of ‘. x" Pe ) mMuUSsIC a eo ee” Sen, DANCE. ba, 5 ane «-*" WS eee” exrr fo AUDIENCE STAGE DIAGRAM SIMPLE SIMON—A PLAYLET The following playlet is an example of a new treatment of Mother Goose Lore. The story centered about “Simple Simon Met A Pieman” interprets the hero of the rhyme as a poet rather than a fool. A simple presentation of the poet’s maladjustment awakens the sympathy and interest of the children. THE PLAYERS , SIMPLE SIMON THE PIEMAN Potato VENDER A MoTHER HER CHILDREN Two GIRLS ONE Boy Two LOVERS FARMER JONES GOOosE Mistress BRowNn TWELVE SUNBEAMS SIMPLE SIMON ScENE: A country road, a tree in foreground. Time: Early morning. [Varied characters are seen going to the Fair, a MOTHER and her children, two Lovers, a POTATO VENDER. They enter from right and go off left. SIMPLE SIMON enters, left, hands in pockets. He whistles an old tune as he shuttles along; sees tree; comes to center, doffs cap. | SIMPLE SIMON Good morning, lovely Tree, is not this a beautiful day? And did you see the sunrise? It was more rosy than ever before, bringing all the gold in the world with it. What is more precious than the gold in the sunrise, lovely Tree? [Noise 1s heard off right. | Ah! some one comes. [FARMER JONEs enters, right, driving a fat GoosE before him. | Ah, good morning, Farmer Jones. Is not this a beautiful day? What a fine fat goose you have there! FARMER JONES Yes, indeed! Wife and I have fattened her up all the early spring, and now I’m taking her to the Fair to sell her for a f gold. piece of g a 182 ALLEGORIES SIMPLE SIMON Gold like the sunrise has? FARMER JONES Gold—gold like the sunrise has! Simple fool! what can you buy with the sunrise? No, I shall sell her for a piece of gold to buy a new wheel for my cart, so I can ride and not walk. SIMPLE SIMON Oh, but sunrise gold buys dreams for all the long hours, and sets songs tingling on the lips. FARMER JONES Bah! you should be working in the fields instead of singing songs. You are indeed simple! [Goes off in a huff, left. ] SIMPLE SIMON [Looking after him] Gold to buy wheels with—gold to buy wheels with! Oh, lovely Tree, I would not give one of my songs for a thousand wheels! [ Sits down in middle of road. | [Mistress Brown enters briskly, right, carrying basket of eggs. | | Mistress BROWN Good morning, Simple Simon, do you not see that the sun is up? SIMPLE SIMON [Jumping up| Oh, Mistress Brown, yes indeed! And isn’t it glorious? Do you not love the sun in the early morning? SIMPLE SIMON 183 Mistress BRowN Aye, that I do, for I can get me up early and bring these eggs to the Fair, and fine eggs they be, lad. [Showing them proudly. | SIMPLE SIMON And will you sell them for a piece of gold to buy wheels with? Mistress Brown [Laughs] “Gold to buy wheels with?’ What would I with wheels? I shall buy a new shawl at the Fair so Farmer Smith will be overpleased to see me. [Day-dreaming for an instant | Let go my basket, Simple Simon. I must be on my way. [Goes off briskly, left. StmpLe Simon stands looking after her, puzzled. The cry of a huckster is heard off right. | PIEMAN Pieman’s Song Allegretto ; Ps I have pies, good pies, Comeand buy, Comeand buy. SIMPLE SIMON Oh, he says he has pies, and I’m so hungry! [Runs off right to meet the PIEMAN. | PIEMAN [Entering, right, with a tray of pastries| I have buns. SIMPLE SIMON [Dancing before him.| Oh, buns! 184 ALLEGORIES PIEMAN Fresh bread. SIMPLE SIMON Fresh bread! PIEMAN Fresh rolls. SIMPLE SIMON Fresh rolls! PIEMAN Fresh cake! SIMPLE SIMON Oh, oh! PIEMAN And pies! SIMPLE SIMON Oh, pies! fresh, juicy pies! All brown on the edges? PIEMAN Aye, a delicate brown. [PIEMAN smiles indulgently. | SIMPLE SIMON May I see them, Mr. Pieman? [ PIEMAN uncovers tray. | SIMPLE SIMON May I smell them? [Leans forward and sniffs delightedly. | Oh, Mr. Pieman, may I have that one? PIEMAN [Extending palm.| Show me first your penny. SIMPLE SIMON | 185 SIMPLE SIMON [Not comprehending.| Penny, penny? Indeed, I have not any. PIEMAN [Angrily.| What! You have no penny, and you stop thus to bargain with me! I shall be late—one hour—two hours— three hours late, and I might have sold a pie at the Fair by now. No penny, indeed! SIMPLE SIMON But I have songs—one made new this morning out of the sun’s gold. I have many songs to fit your lips. PIEMAN A song for one of my pies! Ha,ha! [Enraged.] Rascal! idiot! fool! [Throws StmpLE Simon to the ground.| Be- gone! You are indeed simple! A song for one of my pies! Ha! ha! [PIEMAN goes off, left, singing. | PIEMAN’S SONG: I have pies, good pies! Come and buy! come and buy! SIMPLE SIMON [On the ground, morally crushed. Lifts head, after a mo- ment, and looks sadly at sun.| Gold—gold! how cold you make men when you leave the sunrise.’ [Falls to his knees. From off stage, right, chanting 1s heard. | Note: 1This playlet was written in Madame Alberti’s School of Expression. 186 ALLEGORIES Sunbeams’ Chant -A eA i Andante ¥ At. TS EI rececernes EET CR AD A RA pee EE EE one, FE MEDS i SRS ", eS (CR ME EE Re” NRE ee ee a nas (Ws ee eS WE Wil eee ee -_. EG eo mNP MAES STS Rr NE Sa Come, Simp-le Si - mon, Come to your home in the sun - fise. [Slowly, from right, enters a procession of TWELVE SUNBEAMS, gowned in yellow. They are graded in size to suggest the slant of a ray of sunlight. They come to center stage, chanting. SIMPLE SIMON becomes aware of the figures about him, lifts his head, responds to the call of the SUNBEAMS, and follows them off, right, to a realm of greater warmth and under- standing. | COSTUMES SIMPLE S1MON: Dark knickerbockers and blouse; collar, cuffs, and skull-cap of blue printed cambric. THE Pirman: Long dark trousers; large white apron; baker’s hat of stiff white muslin. Potato VENDER: Brown smock; overalls; hat with broad brim; he carries sack of potatoes. MotTHER: Princess dress of blue; poke-bonnet; shawl; mitts. (These may be cut from black hose.) Her CHILDREN : Girts, Kate Greenaway gowns of yellow; poke-bonnets ; mitts, buckled shoes. Boy, Long dark trousers; Eton jacket; white blouse; straw hat. 3 Lovers: Girl, bright red princess gown, gay bonnet. Youth, long coat; large hat. FARMER JONES: Overalls; white shirt; broad hat. Goose: For foundation, one-piece garment of white muslin; bands of yellow cloth are wound about legs and feet. For goose-bill, cardboard foundation covered with yellow cloth and fastened to close-fitting muslin cap. Mistress Brown: Full skirt of printed material; white blouse ; bonnet ; shawl and mitts. TWELve SUNBEAMS: Long clinging gowns of yellow cheese- cloth. 187 GETTY CENTER LIBRARY TMT 5 00779 9 a eee TR eg bP ie ee RST IT Re tebe TTP eo iets taint TRITTATeE es Ta ol MEER ea oe a es COAT aa! at pete zy, iy ‘ Ae bye ne Se carne puke Pay spree! Spe Re eRe me o Q sh Sy Bi tee nee. if ris % Lies ct cits Pee ne a a ‘sh fa it ah gE o 2 ne halite . Aa oa * “4 it } i i { pearett ry. Saale