-...—...."a-§__ -. .4,- .!“.‘I‘ Q‘: . .4 I :1‘ . I C u a II II 1 .‘ t r1,w:m, ._, K... J.” .a, --«xv s.\._ . .»..»..--.q«;- ._. . . V I {Pill F: . 9- v 70. . '1‘! sllv-.u|.U . 3. It I o .|!.I.I IIII no .. s-., — v.4.‘ ':tI.’r“."~J‘.’:""«’:-"""-.*"*'*' “ (I112 Nativity” atth “(E112 Qlnnavrratinn nf Svir (fialahah ” TWO PAGEANTS FOR THE CHURCH By EUGENE RODMAN SHIPPEN and ELIZABETH BLOUNT SHIPPEN FOREWORD by Percy MacKaye THE BEACON PRESS, Inc. 25 BEACON STREET BOSTON, MASSACHUSETTS Copyright, 1923 THE BEACON PRESS. Inc. All rights reserved 9% TO THE SECOND CHURCH IN BOSTON THE CHURCH OF THE MATHER’S AND OF EMERSON PURITAN IN ORIGIN AND TRADITION NONE THE LESS READY IN LATER YEARS TO ENTER THE GATE CALLED BEAUTIFUL %E< N16904: FOREWORD The authors of this volume have made an enlightened comment which might be made the text for beginning a constructive reform of church services, of whatever denomination or belief. The comment, on page 29, is this: “VVhoever takes the part of . . a wise man or of an angel essays a role which challenges character, dons a garment which demands a spiritual body measurably fitting it.” Implicit in this statement is a principle upon which some of the noblest human rituals of the past have been designed and future comparable ceremonies might be instituted. The principle involved is imaginative participation in religious wor- ship, which leads to spiritual understand- ing, instead of the present, almost uni- versal repetitive spectatorship, which tends toward the lip—service of literal con- formity. [3] In brief, there is involved the dramatic principle—the reconstitution of drama whence it sprang and where it belongs, in the temple of man. And this principle, safeguarded by the “reverence and good taste” urged by the authors in their In- troduction, may well lead to a renascence of beautiful dramatic services in our churches, which hopefully may make their congregations co—equal witl1 their communities. Happily the movement toward this goal has already set in with strong tide, and to its growth such “pageants” as those here published, already tested in their useful- ness, are helpful contributions in the groping advance of the art implied. For this art itself must have its new forms of growth, and must be developed by devout and exacting experiments. Referring in their Introduction to the FOREWORD experiments here submitted, the authors remark (on page 7) concerning their method as they have used it in co-opera- tion with their own church members: “It will be observed that there are no speaking parts, a Reader, or impersonal Voice, in- terpreting the action, the Participants silent.” And they give further their good reasons for this method. As one who has made experiments in church and community rituals——especially in a dramatic service of the Bible, “The Pilgrim and the Book,” widely used by the American Bible Society——it is, I think, pertinent for me to say that I have my- self used, for somewhat different purposes, a different method in this respect, involv- ing the spoken word, despite which I be- lieve that the authors’ reasons, given in their Introduction, are valid for the pur- poses of these works, and worthy of being carefully observed by participants. The main reason urged is one which concerns the safeguarding of good taste, a most important point of advice in regard to services here made available, through publication, for various congregations, that might unwittingly err in method, however reverent the spirit in which they approach this new form of worship. The method of the single Voice, the dramatic “Reader,” though here adopted for our own time and country, has the sanction of ancient precedent and surviv- ing folk-custom. It was the method used by the early Greeks in their religious ritu- als before Aeschylus began the larger complexities of drama by devising the Second Actor of tragedy; and it is the method still used in the Orient by the Javanese in their curious and often beau- tiful drama, closely related to the forms I of puppet—drama, though seriously relig- ious in its nature. Such precedents and analogies give strength to these new experiments, for [4] FOREWORD they attest the depth of the perennial human needs in Which they are based. The appearance, therefore, of this mod- est Volume is auspicious. Its authors have essayed, with enthusiasm and reverence, an admirable labor for a non-sectarian good. In that happy endeavor it is a [5] pleasure to Wish them—and all Who co- operate With them—Godspeed. Percy MacKaye Cornish, New Hampshire, 14, September 1923. INTRODUCTION A PAGEANT has been called a dramatic hybrid, a cross between a procession and a play. Reduced to its simplest terms, it is symbolic group-action. The great, out-of- door community pageants, with which of late years we have become familiar, usually interpreting local and historical events, have their own highly developed technique. Church pageants, however, are another thing. Planned for the chancel or the pulpit platform, their scale, meth- ods, and aim are very different. In the Protestant churches, at any rate, they are an innovation, though it is to be noted that the most puritanic of churches in ob- serving the rites of baptism and the Lord’s Supper—both symbolic services ——have long unconsciously recognized the value of pageantry. The authors of these two pageants offer this little book as a modest attempt to formulate some of the principles of reli- gious pageantry and to develop a tech- [6] nique as yet lacking. Obviously our Prot- estant churches need thus to enrich their services and to restore some of the sym- bolic elements, however purified, of the ancient church. Obviously the Reforma- tion threw away many values. Under this persuasion it has been the aim and the practice of the Second Church in Boston of late to celebrate the Christmas and Easter festivals with reverent and im- pressive ceremonials far removed from plays or spectacles. “The Nativity” and “The Consecration of Sir Galahad,” de- scribed in the following pages, are in motive symbolic services called pageants for want of a better name. Though they introduce children into the church service, drawing inspiration from their beauty and artlessness, these pageants are manifestly not Sunday School entertainments. In- deed, staged in the parish house, without organ accompaniment and the atmosphere of the church, they would lose much of INTRODUCTION their original spirit and intention. In short, each Was prepared as a visible “devotion,” a climax indeed to the formal service of Worship, its moving appeal de- pending upon the degree of self-efface- ment, reverence and religious imagination shown by those taking part, rather than upon external or scenic effects. The Whole value of religious pageantry lies here, it cannot be too strongly affirmed. Reverence and good taste, good taste and reverence,—these are indispensable. O pageantry! pageantry! How many eccle- siastical crimes are committed in thy name! In giving church pageants, the devo- tional aim being assumed, organ support is necessary, though a choir is not indis- pensable. A congregation trained to sing is more than a substitute for any profes- sional quartet and may Well cover the lack of a regular choir. Further to promote the religious pur- [7] pose of these pageants, Where it is pro- posed to present them, it is suggested that a preparatory service for participants, as outlined on page 29, be held. It Will be observed that there are no speaking parts, a Reader, or impersonal voice, interpreting the action, the partici- pants silent. This is significant, involving an important principle. To have one of the characters in a church pageant be- come audible tends to destroy -illusion and break the imaginative spell. Mary, for example, singing a lullaby in the pageant would lose her symbolic character and much of her appeal. She would become a girl singing, lovely perhaps, but not the enthroned madonna who is an impersonal ideal, a symbol of divine motherhood. Realism has its place, but not in church pageantry which is keyed to a more spirit- ual scale; which deals with ideas not facts, types not persons. There are more- over, practical arguments against spoken INTRODUCTION parts in religious pageants. Employing a good reader as spokesman for all greatly simplifies the task of preparation, reduc- ing rehearsals to a minimum. Again, silence on the part of the principals re- moves the objectionable inequalities of diction. Comparisons, for example, be- tween A’s good voice and B’s nasal intona- tion, between C’s intelligent interpreta- tion and D’s declamatory effort cannot be made. To revert to religious pageantry in gen- eral and its value for today, let its non- controversial character, no inconsiderable virtue, commend it to the churches. In a time of sectarian strife, when even a com- mon prayer book and a common hymnal are impossible, it may be that church pageantry, one form of the inarticulate language of emotion, will help to promote Christian unity and serve as a bond of peace. Needless to say, the pageants now of- [3] fered to the public contain no hint or im- plication of sectarianism. Their themes are the common property of the Christian world, an undogmatic, naive interpreta- tion of them best preserving their im- mortal worth. It may be of interest to note, in passing, that “The Consecration of Sir Galahad,” first published in The Christian Register for l\Iarch 1, 1993, has been presented by churches geographically separated by a continent and theologically as far apart as Westminster and Beacon Hill. That the non-churchgoing public is drawn to church pageants, crowding the churches, coming to gaze and perhaps re- maining to pray, getting acquainted for the first time, it may be, with the disin- terested aims of the church—— this, too, is an argument for such pageants. When it comes, however, to the impression made upon the participants themselves—the satisfaction found in noble self-expression, INTRODUCTION the joy of taking part in an uplifting serv- ice—this alone abundantly justifies the new movement toward symbolic services. Some day the Protestant churches will wake up to the fact that they are, in reality, priest-ridden, the minister a soli- tary figure in the chancel or on the plat- form. They will then revive the ancient ideal of the priesthood of the laity, and give opportunity to many, as in pag- eantry, to share in the sacred office of conducting worship and in the inspiring task of edification. ACKNOWLEDGMENTS Mr. Percy MacKaye’s Foreword to this modest essay in pageantry has placed authors and publishers under a real obli- gation to the master pageant writer. Acknowledgments are likewise due Mr. Thompson Stone, Organist and Choir- master of the Second Church in Boston, [9] whose exacting standards of taste and whose wide acquaintance with the best in musical literature are, in a measure, re- vealed in his “Suggestions as to Music for the Pageants.” His co-operation in the original production of the pageants in Bos- ton deserved, as it received, the highest praise. Two of the eight photographs herein shown, the large groups, were flashlights taken by Mr. Burr A. Church of Newton under peculiar difficulties. Without his professional skill and personal interest there would have been no permanent visi- ble record of the groups. The remaining six photographs were taken by Miss Mary L. Patten of Boston, her artistic contribution representing work done con amore, admired by all, but appreciated most, perhaps, by the authors. From interested friends, Dr. Florence Buck, Miss Hazel MacKaye and others, competent criticisms and suggestions have INTRODUCTION been received, now gratefully acknoWl- young, “proprietors” and participants, edged. But above all, thanks are due to Without Whose loyal support the pageants members of the Second Church, old and would have been mere manuscripts. [10] wdzfi WAGE m EH “ @112 Natinitg” A CHRISTMAS PAGEANT IN FIVE EPISODES I The Annunciation. III The Adoration. II The Nativity. IV The Flight into Egypt. V The Light of the World. PARTICIPANTS: Reader, Gabriel, Joseph, Mary, little St. John, arch-angels, at- tendant angels, the heavenly host (little children), three shepherds, three kings, twelve apostles, disciples, two or four acolytes. PLACE: The Church. [11] Elntrnhurtnrg Swrninz ‘. Organ Preluflde f 4 I p The prelude carol may be sung by choir Psaelude Q’; r ~; or Church School, unseen, in the vestry, with doors open. F‘ . 5 . :‘~ I». 1 ‘:1 Processmnal to ‘ I V,‘ K/.\_fi)¥1_ _ .m.« A . .~...«_..>A"‘ kfil" . \_ “Pfa”§e’i.' “ I ‘ K Order of procession: the heavenly host, arch—angels, dlsclples, acolytes, ChO1I‘, as- 3‘ /Organ sistants or teachers (robed), minister. Scripture Reading - For the Reading let there be chosen passages other than those accompanying Oflertory Carol the pageant, herein printed. Organ ‘; See suggestions as to music in Appendix. [12] “ Ell}? Nativity ” I @112 Annuntiatinn READER: l\‘l\ Now Was the angel Gabriel sent unto a city of Galilee, named Nazareth. \\}i And‘, he angel came in unto Mary, and said, Hail, thou that art highly favored, N\ 'the/ Lord is With thee; blessed art thou among Women. W And When she saw him, she Was troubled at his saying. And the angel said unto her,/yFear not, NR lVf[ary: for thou hast found favour with ‘God. And, behold, thou shalt bring forth a son, and shalt call his name Jesus. He shall be great, and shall be called the Son of the Highest; and of his king- dom there shall be no end. Soft organ music throughout the episode. After a few bars Mary enters, side, bearing distafi”, and sits, centre. Gabriel side, enters, bearing a madonna lily with long stem; bends on one knee before Mary, who, at his approach, lays down dis- tag?" and withdraws to opposite side. The two are in profile toward congregation. Mary shrinks, but is reassured by Gab- riel’s hand upraised in blessing. Mary rneekly bows head and folds arms across breast. [13] “ Ellyn Nativity ” [V \ . . ‘"‘v"»-§“ \‘ Then said Mary unto the angel, Behold the handmaid of the Lord; be it unto me according to thy Word. ?"’l»And the angel departed from her. if "1’; \And Mary said, soul doth magnify the Lord, And my spirit hath rejoiced in God my Saviour. For he hath regarded the low estate of his handmaiden: for, behold, from hence- forth all generations shall call me blessed. For he that is mighty hath done to me great things; and holy is his name. And his mercy is on them that fear him from generation‘to generation. ll‘? He hath shewed strength With his arm; he hath scattered the proud in the imag- ination of their hearts. He hath put down the mighty from -their seats, and exalted them of low de- gree. -5!‘ He hath filled the hungry With good Gabriel withdraws, side; facing Mary all the while, hand still upraised. Mary lifts head, eyes turned upward. “The M agnificat,” beginning “My soul” would much better be sung by the choir, unaccom- panied, in unison. [14] “ (11112 Nativity ” things; and the rich he hath sent empty away. He hath holpen his serVa'nt Israel, in remembrance of his mercy; As he spake to our fathers, to Abraham, Mary withdraws, isidg, her arms still and to his seed forever. folded. Awaeelyte distafi. (5 s_. .7 X, _.,__ .. ., f I :2 _ K . I2. '- ‘J 2 :2 . y .4 x 1 g, , .: - ~ ‘V '5 r .. . «, a /, A 4: . , -. . I . .- ,-. -. « ~ -.»““’*"‘-»,»../9. ..v -u‘ . «. v‘ .3 a. \ s. _ =- ....‘ ’., - . »'~—’.»~?-' .*' ' , ~ y e - 1 ,- \-. ’ ’ ‘-an ' '2 ~ ‘~‘.:.,>.-: ».A . ._,.4 ».,, r ; ‘.1 "W. .2-;*'N~~«”’: K’?-3’ ‘»‘?" *~.».»-92..-~"$ 2» 3‘ ' ‘.‘~,.« '',s- ".-,__,w as i I ..,,,-7 ‘'7 w <.,-, >_ , kl. L5 3 ,1‘. V) . car‘ ‘ ""_a:'“'"" i "x_ K-: "0’ ‘L ’* ‘ . ~:.-. »~- '1 ; -\..2 111;: Nativity READER : fizz . A ’ ‘ And there Were 1n the same country shepherds abiding in the field, keeping Watch over their flock by night. ‘W And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they Were sore, afraid. [A Vlfhd the angel said unto them, Fear not: for, behold, I bring you tidings of great joy, Which shall be to all people. Gabriel enters, side or centre, bearing a long golden trumpet. , During the reading he has taken his place far back in the chancel, in front of the altar, facing the congregation. [15] “ E112 Nativity ” iFor unto you is born this day, in the city of David a Saviour, which is Christ the Lord. And this shall be a sign unto you: Ye shall find the babe Wrapped in swaddling clothes, lying in a manger. W And suddenly there Was with the angel a multitude of the heavenly host, praising God, and saying, §37{_&-..,, Glory to God in the highest, and on earth peace, good Will toward men. At the conclusion of the reading, following the words, “peace, good will toward men,” Gabriel lifts trumpet to his lips, the choir breaking out with “H osannah! ” Gabriel lowers trumpet and stands, cen- tre, motionless. Following the “Hosannahl”, the organ modulates, without a break, into the hymn “Silent Night,” sung by choir and congre- gation, after which the heavenly host and arch-angels leave front seats and take places, standing or kneeling on either side of the chancel, front. Gabriel takes his place at one side. I First attendant angel enters, preceding 4 Holy Family. Joseph and Mary and little .; St. John enter, side. Second attendant angel follows. Mary sits, centre, her eyes upon the babe in her arms. St. John kneels at her side. [16] ..- ~ --mg ___" .‘ , v~ ANGEL WITH VENETIAN LUTE. DATED 1600 ANGEL WITH OLD FLORENTINE LYRE “ 61112 Natinitg ” III @112 Ahnrafintt \¢_\j. READER: ' And it came to pass, as the angels were gone away from them into heaven, the shepherds said one to another, Let us now Following the words “and the babe lying “=“-“go even unto Bethlehem, and see this in a manger,” organ plays, while the three thing which is come to pass, which the shepherds enter, side, and prostrate them- Lord hath made known unto us. selves, one by one, before Mary; leave their W And theylcame with haste, and found gifts of fruit, bread, and flowers at her feet, Mary and Joseph, and the babe lying in a and withdraw to one side. manger. ' N\ ,Now when Jesus was born in Bethlehem of J udaexa in the days of Herod the king, \ 31* behold, tliere came wise men from the /3 .~,-» isfigrfiwgxfik east to erusal/am, '54; ‘ Saying, Wlhe e is he that is born King of the Jews? For we have seen his star in the east, and are come to worship him. 7/ And, lo, the star, which they saw in the Following the words “gold, and franhin- east, went before them, till it came and cense, and myrrh,” organ plays, while the l 17 l fix ir (§alahah” A SYMBOLIC SERVICE FOR EASTER PARTICIPANTS: The Voice, Sir Galahad, Yglais, the mother, the Angel of the Grail, Trumpeter, two Knights, four Pages, nine Virtues. PLACE: The Church. [22] SIR GALAHAD “ E112 Qtnnaerratinn 111' Sir (fialahah” Ilntrnhurtinn THE VOICE: A maiden knight—to me is given Such hope, I know not fear; I yearn to breathe the airs of heaven That often meet me here. I muse on joy that will not cease, Pure spaces clothed in living beams, Pure lilies of eternal peace, VVhose odors haunt my dreams. Then move the trees, the copses nod, Wings flutter, voices hover clear: “O just and faithful knight of God! Ride on! the prize is near.” So pass I hostel, hall, and grange; By bridge and ford, by park and pale, All arm’d I ride, Whate’er betide, Until I find the Holy Grail. —Tennyson. [23] “ E112 Cltnnarrrafinn nf fiir ($alal1ah” I @112 fl(nigl11’n lflnm THE VOICE: Hail Galahad! Hail thou dutiful son, lad no longer. On an Easter morn came thou into the world. On this, thy natal day, this Resurrection day, ’tis meet thou dedicate thyself and manly to uphold the cross after whose mystic pattern thou art framed. Look now, 0 youth of strength and hope, Into thy soul, as God doth look, And pray the Psalmist’s prayer of old: Create in me a clean heart, 0 God; And renew a right spirit within me. Search me, O God, and know my heart; Try me, and know my thoughts; And see if there be any wicked way in me, And lead me in the way everlasting. Thine orisons o’er, the time has come for thee to take thy vow as Christian [24] Following the introductory verses from Tennyson, trumpet notes are heard in the distance, unaccompanied, followed by en- trance of trumpeter, four pages bearing accoutrements, two knights, Galahad, centre. Organ accompaniment. Galahad, facing altar, stands for a mo- ment with outstretched arms, then ‘kneels. Choir chants the Lord’s Prayer, plain song setting. “Eh: Qlnnaerratintt nf fiir (%alal;ah” knight. Be thou instructed. Be this thy solemn pledge. I, Galahad, do by the holy rood make oath To speak the truth and maintain the right, Wrongs to redress, the insolence of might to curb, To scorn the lures of wealth and ease, To treat my body as the temple of the soul, And, chaste, to honor womanhood; Christ and the Church right loyally to serve, And e’er to fix mine eyes on God. Amen. Now, let thy leal and doughty friends invest and outfit thee. First, the Key of Knowledge shall be thine. The Helmet of Salvation next shalt thou wear. Now take the Shield of Faith. Last, not least, assume the Spirit’s Sword. Galahad, still kneeling, raises one hand as in taking an oath. If desired, Galahad may audiblg repeat the vow following the Voice phrase by phrase. A page gives golden hey, hung on a rib- bon, to one of the knights, who hangs it about Galahad’s neck. A page gives helmet to one of the knights, who places it on Galahad’s head. A page gives shield to one of the knights, who presents it to Galahad. A page gives sword to one of the knights, who presents it to Galahad. [25] YGLAIS, THE MOTHER, BLESSING SIR GALAHAD “ E112 Qlnnavrrafinn nf fiir fialahah” Behold the maiden knight, Sir Galahad! Accoutered thus, thou lackest only this, thy mother’s blessing. II 03112 iililntlpzrva Meaning THE VOICE: Mother! thy son’s hour draws near. Ap- proach thou! Thou hast given him birth; thou hast guided his first steps; thou hast brought him up in the nurture and admonition of the Lord. As now he goes out into the World do thou summon to his aid the Vir- tues nine. No strangers they to him, but nearer, closer henceforth must they be, a light unto his path. Call forth the Virtues which as knight he needs—Courage, Loyalty, Endurance. Invoke the Virtues that become his noble birth-——Gentleness, Humility, Pur- lty. Galahad raises sword on high. Mother enters, greeted by Galahad. Short organ improvisation. Following the words “Courage, Loyalty, Endurance,” organ improvisation, during which the three Virtues enter, right, making obeisance, one by one, before Galahad, then taking places near altar. Following the words “Gentleness, Hu- mility, Purity,” organ improvisation, dur- ing which the second group enters, left, following lead of first group. [26] “ E112 Cllnnarrratinn Let him, above all, companioned be by Virtues rare which crown him Christian—— Faith, Hope, Love. Mother, thy task divine is done; N 0 longer claim him thine alone; The needy world he now must serve. As forth he fares, bestow on him thy bless- 1ng. Son, thy tendant knights have likewise done their task. Thou needest them no more. Bid them guide and fend thy mother on her way. nf fit): ($alaI1ah ” Organ improvisation. The three Vir- tues enter, center, following lead of others. Mother blesses Galahad, her hand on his brow as he kneels. He, in turn, kisses the other hand. Following the words, “thy mother on her way,” organ improvisation. Trumpeter, pages, Mother and knights retire, in order named, right or left. Galahad follows group a few steps, watching his departing mother tenderly. [27] ANGEL OF THE GRAIL AND TWO VIRTUES “E112 Cllnnzerratintt nf fiir ($alaI1ah” III @1112 finlg (firail THE VOICE: Thou godly youth, Well dowered thou, and now, full consecrate, thy strength be as the strength of ten because thy heart is pure. Prepared be to see the sacrificial Cup, to glimpse the Holy Grail! For him alone the sight ineffable who follows Christ. In might of love thou shalt possess the Grail at last, and find Eternal Life. In God’s own time——at last! If any man will come after me, let him deny himself, and take up his cross and follow me. Galahad starts from his reverie. At the conclusion of the reading following the words “follow me,” organ plays; the Angel of the Grail appears, side, goes to altar, lifts on high the Grail, hitherto con- cealed, turns ,and, motionless, faces the con- gregation. Galahad starts back at the sight of the Grail, then goes forward ardently and kneels at the feet of the Angel. Organ. Galahad lifts the sword, hilt high up, towards Grail as the Voice con- cludes, then rises, turns, and departs, cen- tre, his eyes on his sword-hilt held before him, followed by the Virtues in single file. The Angel waits until the Virtues have de- parted, then withdraws quietly, side, bearing the Grail. Bmvhirtinn [23] APPENDIX A CONSECRATION SERVICE FOR THE PARTICIPANTS In order that those taking part in either of these pageants may be prepared for their inspiring task, and that the spirit of the pageant, as distinct from its technique, may be imparted, it is suggested that a brief consecration service be held at a con- venient time before the final rehearsal, exclusively for the participants. Preferably such a service, with the minister in charge, would be held in a small chapel or in the chancel lest the little com- pany be lost in the large church. Let the organist co-operate, making the service a dignified one in keeping with the purpose of the pageant itself. An evening hour is strongly recommended, with candle-light the only illumination. With or with- out the choir, the group should enter the place of worship in some regular order, either singing or silent, each participant bearing a lighted candle to be left in holders on the altar. The following simple order of service is sug- gested: processional, organ, responsive reading or repetition of a familiar psalm, Scripture selections, prayer, Vesper hymn, address, benediction, reces- sional. The address offers the minister an opportunity of interpreting the pageant to the participants and of bringing out its deeper meanings; also, for in- dividual analysis of the different parts, with re- marks ad hominem, each representing a type of character or moral attribute worthy of study. VVhoever takes the part of Mary, for example, or of Sir Galahad, of a wise man or of an angel, essays a role which challenges character, dons a garment which demands a spiritual body measurably fitting it. Thus appealing to the spiritual imagination of the participants and emphasizing the stimulating privilege which is theirs to embody virtue, the consecration service may help to develop some- thing of the spirit of Oberammergau with its passionate sincerity, creative faith and moving dramatic power. The somewhat minute rubric accompanying these pageants and some of the suggestions found in the Notes may seem superfluous to ministers or lay religious directors whose churches have given attention to the art of public worship, but experi- ence has shown that in churches in which the Puritan tradition is strong special help is needed in using symbolic services. [29] APPENDIX The Word “altar” carries with it no necessary suggestion of sacerdotalism, being employed merely to indicate the central place or focus of Worship —a communion table in churches of the Puritan tradition. GENERAL SUGGESTIONS A dramatic or symbolic service is best held in churches Which have a chancel With communion table at the back, and pulpit and reading desk at either side. In churches where, instead of a chancel, there is a platform, the service can be held provided the pulpit or reading desk is removable. In the old meeting-house type of church, with fixed pulpit at the center, it can only be given Where there is space in front for a communion table and for a low platform capable of holding a group of ten or fifteen persons. For either of these pageants the church itself is the proper and adequate setting, no scenery, hang- ings or screens being required. The Reader or the Voice should avoid “e1ocu- tionary” effects, on the one hand, and the merely conversational, on the other. In both pageants the text requires a reading which approaches inton- ing, perhaps somewhat ecclesiastical and other- Worldly——anything to escape the secular and the commonplace. A certain monotony of pitch, ob- jectionable in a sermon, is here desirable, for the text is a ‘background, so to speak, against which the participants are seen, an atmosphere in which they move, giving life to ghostly words. In short, the action, not the text, is all-important. Moreover, the Reader must suit the Word to the action as far as possible. No printed stage direc- tions, or, as in this case, rubric can show the Reader how to time himself, Where to pause and Where to read continuously. It is therefore neces- sary for him to be so placed, Whether at the read- ing desk or unseen, where he can follow the action and, not less important, be in visible communica- tion with the organist. Instant “picking up” and co-ordination on part of Reader and organist will equally prevent dragging and sustain the par- ticipants. Important as the music is, let not the lack of an experienced organist deter a minister or lay reli- gious leader from undertaking the service. In place of the improvisations and more difficult se- lections there may be moments of complete silence by no means unimpressive. [30] APPENDIX In the matter of lighting, there should be abun- dant indirect light—the source concealed— in the chancel, the rest of the church being darkened as far as possible by day and dimly lighted if the pageant is given at night. A “dim religious light,” whether approved in theory or not, enhances the beauty of the lighted candles in the recessional. Different degrees of light intensity in the chancel may be necessary in harmony witli the different episodes, but frequent switching off and on is to be avoided. A spotlight, if any, is to be used cau- tiously to avoid theatrical effects. A As far as possible loaned draperies, stuffs, and costumes should be depended upon rather than expensive and sometimes cheap-looking garments from the theatrical costumer’s. The pageants will be found to improve with repetition year by year, congregations and public apparently welcoming their reappearance. Prop- erties and costumes of a permanent character may be added to the pageant chest or wardrobe from time to time, the pageants growing richer and more perfect as repeated. SUGGESTIONS FOR THE PRESENTATION OF " THE NATIVITY” The pageant may be shortened and simplified, if desired, by leaving out the first and last episodes —the ANNUNCIATION and the LIGHT OF THE VVORLD. If it is necessary to make announcements or to read church notices let them be given just before the Scripture Reading in the Introductory Serv- ice. At this point it is important that the devo- tional character of the pageant be explained to the congregation whose participation in the singing of the hymns and carols may properly be urged. A printed order of service, giving the words of the hymns and carols not found in the church hymn book, and the title of the episodes, is desirable. The term “arch-angel” is used simply to dis- tinguish the group of six’ angels leading the heav- enly host from the angels attending the Holy Family. I. COSTUMES Valuable suggestions for Oriental costumes may be found in the Tissot colored prints, to be had, at small expense, of the Tissot Society, New York, N. Y. A VVhere Oriental stuffs are not available, dyed cheesecloth, canton flannel and unbleached muslin Will serve. [31] APPENDIX Halos and wings may be cut out of heavy card- board and gilded or painted. A white elastic band around the forehead will hold the halo in place. VVings are secured by means of shoulder straps. In every case twisted turbans or head draperies are to be preferred to wigs or beards. GABRIEL : A young man or woman. Costume, the most beautiful of all the angels; voluminous flame- colored crepe, stencilled in gold. Wings of metal cloth wired at top and sewed to dress, allowing more freedom of action than cardboard wings; painted in rose, blue and gold. Halo of gilded wire, attached to a blond wig; or, pasteboard halo, pierced and decorated, and held in place by a gilded elastic band. (For color and design study carefully Fra Angelico’s Annunciation.) J OSEPH2 Long yellow robe and carries a staff . MARY: Sapphire blue robe with white drapery over the head, surmounted by a gold halo. The CHRIST-CHILD: Represented by a doll completely wrapped to give only outlines, a concealed light shining through the veiled draperies. ST. JOHN: Bare arms and legs, wears a leopard or other skin over the shoulders, and carries a long slender cross. ANGELS: (1) Arch-angels, without wings, wear long, sim- ple flowing robes, each of a special color. The hair should be worn as simply as possible, not arti- ficially curled, and without ribbons or ornaments. If the hair is long it should be turned under to appear short——not to hang below the shoulders. Some may wear halos, others garlands. In their hands they may carry musical instruments, parch- ment music, or flowers. (Q) Attendant angels wear robes of rose-color and gold, a veil hanging from the shoulders to con- ceal the wing attachment. (See illustration on cover.) Wings are white or delicately colored. Halos, color on gold ground. NOTE: It is recommended that such angels as are provided with wings—Gabriel and the at- tendant angels,—should enter and withdraw from the side, having no part in the processional or [32] APPENDIX recessional. Wings, effective at a distance, are too obviously artificial to bear the close inspec- tion of the congregation. The HEAVENLY HosT: Simply dressed in white, not necessarily cos- tumed save for leaf or flower garlands on their heads. The SHEPHERDS: Shaggy coats or skins, and rough bound leg- gings, or bare legs. The KINGS: Tall young men richly robed, with or without crowns. The APOSTLES: Simple Oriental draperies, their stockings drawn over their shoes and bound with tapes. If desired, the emblems and colors indicating the historic Twelve may be used. (See “Sacred and Legend- ary Art,” Mrs. Jameson; Vol. I., pp. 173—%78.) THE SPIRIT OF CHRISTIANITY: See description of costume of the Angel of the Grail in the second pageant. [33] II. PROPERTIES The STAR above the altar should be small, sug- gesting distance and mystery, not a large blazing affair. A concealed box with a star-shaped aper- ture, emitting a single beam of light from a strong bulb, is perhaps the least objectionable realistic contrivance for the purpose. A “THRONE” for Mary should be provided in the form of a low box or seat covered with dark bro- cade and placed, before the service, in front of the altar. The MANGER, if chancel arrangements permit, may be partly shown or suggested with hay or straw near the altar. In the manger may be hid- den the well-wrapped doll, representing the babe, to be brought out by Mary after entering the chancel. Otherwise, the manger need not be shown, but left to the imagination, Mary carrying the babe in her arms when she enters. The SHEPHERDS’ GIFTS consist of fruit of various kinds, borne on a flat basket or salver, a loaf of bread, preferably a well-browned rye loaf pointed at both ends, and a loose bunch of flowers or a small skin representing a rabbit or a lamb. APPENDIX The sHE1>HERDs’ CROOKS are brown stained staves, at least seven feet in length, with rounded bent ends. The KINGS’ GIFTS consist of a jewel box with a string of pearls issuing from the loosely closed cover, a golden crown upon a cushion, and a swing- ing censer with burning incense. III. MUSIC Suggestions ofl’ered by Thompson Stone, Organist and Choirmaster of the Second Church in Boston. INTRODUCTORY SERVICE. For organ prelude: “How lovely shines the morning star,” by Karg— Elert. Other suggestions: Prelude in G, Mendel- ssohn; “Stella Matutina,” “Songe d’Enfant,” and “Romance sans Paroles,” Joseph Bonnet, found in Douze Pieces Nouvelles pour Grand Orgue Opus 7, Second Volume. For prelude carol : “Break forth, O bounteous, beauteous Light,” Bach. For processional: “Adeste Fideles.” Following the prayer let the organist improvise briefly. Offertory carol or carols: “God rest you merry, gentlemen,” “The First Nowell,” “Hark, the herald angels sing.” THE ANNUNCIATION. Begin with “Communion in E minor,” by Arthur Foote. Modulate into “The Magnificat,” sung by women’s voices, un- accompanied, in UNISON, found in the back of “The New Hymnal” of the Anglican Church, Tone VIII, First ending; solemn form. THE NATIVITY. When Gabriel raises trumpet to his lips the choir breaks out with “Hosannah !” from Gounod’s “Benedictus qui venit”; then (without a break) the organist modulates into “Silent Night,” sung by choir and congregation. Brief improvisation on “Silent Night” follows. THE ADORATION. As shepherds start organist ‘plays the “Pastoral Symphony” from the “Mes- siah”; then modulates into the carol “Joseph and ' the Shepherds” (old French, published by Oliver Ditson Co.), sung by the choir. As kings enter organist plays one verse of carol, “We Three Kings of Orient Are”; then modulates into “L0, How a Rose,” by Praetorius. THE LIGHT or THE WORLD. After the reading the organist plays the Grail march from “Parsifal” during which the apostles march in and light their candles. Recessional: “Veni Emmanuel,” (French missal, melody of the 13th century) sung to the hymn, “Lift up your heads, ye mighty gates.” Organ Postlude: “Fiat Lux,” by Dubois. [34] APPENDIX SUGGESTIONS FOR THE PRESENTATION OF “THE CONSECRATION OF SIR GALAHAD” The legend of the Holy Grail is here freely inter- preted, its asceticism giving way to a more modern conception of the Christian life. Galahad typifies youth dedicating itself to the ideals of purity and service. The Knights typify teachers and friends. Yglais, the Mother, typifies both the nurturing church (Eglise) and divine motherhood. The nine Virtues have taken the place of the nuns in the story, severally representing Courage, Loyalty, Endurance, Purity, Humility, Gentleness, Faith, Hope, and Love. The Voice (source unseen) is the voice of the Spirit. The Grail symbolizes self- sacrificing love which feeds and sustains eternal life. As here printed, the service requires less than half an hour, varying with the organist’s impro- visations and selections. If desired, it may be lengthened by introducing hymns, reading, prayer, and address preceding and leading up to the sym- bolic episodes. While originally prepared for Easter, this sym- bolic service may appropriately be used on other occasions by omitting the references to Easter in the opening paragraph. It has already served as an introduction to a membership service, and has been impressively presented on a Memorial Sun- day. I. COSTUMES GALAHAD : Long red canton—flannel robe with elbow sleeves, over which is worn a coat of mail, or ‘chain armor. Latter, if not procurable at costumer’s, may be made of very coarse burlap, silvered. Long, trail- ing cape of same material as robe, clasped in front over coat of mail. Dark blue undersleeves wound with silver braid or ribbon. Blond, “Dutch-cut” wig. Helmet, sword, shield ' (see Properties). Shoes of brown denim laced with ribbon. KNIGHTS : Dark tights, with socks pulled over pointed inner soles. Rich red sleeves. Coat of mail same as Galahad’s. Chain helmet made of “pot-rings” linked together. PAGES : Black or dark tights. Socks same as knights. Doublet or jerkin of bright or figured material with flowing sleeves and belt. VVigs. [35] APPENDIX YGLAIS, THE MOTHER: Sapphire blue under-tunic. Voluminous White veil covering head and shoulders. Forehead band of silver. Sandals. VIRTUES : Garlands of flowers or leaves on head. Long one-piece Overslips of voile With silver Greek girdle and cross-bands. VVhite stockings with or Without sandals. Each carries a long, slender, lighted candle, except the “noble” Virtues, Who carry Madonna lilies. Courage, flame color. Loyalty, purple. Endurance, old gold. Gentleness, pale pink. Humility, pale gray Over mauve. Purity, White. Faith, blue. Hope, green. Love, deep rose. ANGEL OF THE GRAIL: Simple robe of White Or delicate rose, prefer- ably made of chiffon or filmy material. A long veil covers most of the person. Halo made of stout cardboard, not less than fourteen inches in diameter, attached by means of elastic band around forehead. VVhite stockings with or Without sandals. II. PROPERTIES The KEY OF KNOWLEDGE should be a large con- ventional key of Wood, gilded, not less than eight inches long, hung on a ribbon. The HELMET OF SALVATION is a close-fitting hel- met With or Without vizor. A leather football helmet, silvered, Will serve. The SHIELD should follow any conventional design other than round. (See Abbey frescoes in Boston Public Library.) It may be made of heavy tin Or, better, the heaviest pasteboard, bearing a cross, long-armed form, painted red on a cream ground. There must be tape or leather straps On the back with which to hold the shield on the arm. The SWORD should be the long, straight, medi- aeval two-handed type, the straight hilt making a cross. The four properties, mentioned above, are borne by the four pages (whose number may be reduced [36] APPENDIX to two, if necessary) and at the proper time indi- cated in the text are given to the knights. The two SPEABS borne by the knights, should be not less than seven. feet long, with sharp points, silvered. O The TRUMPET should be of the long, slender, con- ventional type, with wide-flaring mouth, not a comet. It may be made of wood, gilded. The GRAIL, if not lighted, may be a large silver cup, covered with a rose-tinted cloth which is re- moved by the Angel when she turns and shows the grail to Galahad. More impressive is the Grail electrically lighted from within, made as follows: In a glass jar, the top of which has been clean cut or ground off, placea three-cell dry battery. (Ever- ready No. '77§.) To this attach a small bulb, placed so that it comes to the top of the glass but does not protrude. Any electrician can arrange a small button-switch on a short wire, hanging out- side, by which the light in the Grail (jar) {may be turned on. Over the Grail hangs a rose-tinted cloth or veil, doubled to give proper glow effect Without showing the bulb. The Grail thus covered stands inconspicuously on the altar or may be concealed by flowers. When the Angel enters and goes to the altar she turns on the current and the [37] glowing Grail is then held on high. After Galahad’s exit the Angel, bearing the Grail still glowing, withdraws, side. MADONNA LILIES, formally arranged on the altar or communion table, are the ideal flowers for this service. The altar cloth should be white as in" the communion service. N.B. Helpful suggestions as to properties and costumes may be found in the photographs of the Holy Grail frescoes by Abbey in the Boston Pub- lic Library. Illustrated books on “Costume,” showing mediaeval costumes, may be, consulted to ad- vantage. III. MUSIC offered by Suggestions Thompson Stone, Organist and Choirmaster, The Second Church ' in Boston. The person taking the part of the Voice must be stationed (unseen of the congregation) where he can co-operate effectively with organist. Suggestions for the Service Prelude: a. Adagio from Symphony V, Charles Marie Widor. b. Andante from Symphony I, Louis Vierne. c. Communion in G, Alexandre Guilmant. APPENDIX I. THE KNIGHT’S VOW: During entrance of Knights, “Procession du St. Sacrament,” Chauvet. While Galahad kneels, Choir chants Lord’s Prayer. BE SURE TO USE PLAINSONG SETTING. Sing in unison. No accompaniment. Can be found in last part of Merbecke Service, edited by Royle Shore, published by H. W. Gray Co., 2 West 45th St., New York City. II. THE MoTHER’S BLESSING: VVhen Mother enters—improvise quietly. When Knightly Virtues enter,use part of Marche Pontificale, from Symphony I, Widor——or impro- vise. VVhen Noble Virtues enter—use a dignified chorale by Bach, with only moderate amount of tone, and foundation stops only. When Christian Virtues enter—use part of the Chauvet Marche, beginning with the plain song melody. III. THE HOLY GRAIL: As the Voice says “to glimpse the Holy Grail,” play softly the first part of the so-called “Grail theme” founded upon what is known as the “Dres- den Amen.” As the Angel of the Grail appears—improvise quietly. When the Angel faces the congregation with the uplifted Grail——“Grail theme” full organ —improvise upon this figure for about 30 seconds and stop. As Galahad lifts sword, hilt up, improvise, using plenty of tone, crescendo to full organ, and dimin- uendo as the characters leave the church. Let the last notes heard be the theme of the Holy Grail, played quietly. Do not play any Postlude. THE CONGREGATION SHOULD LEAVE THE CHURCH IN SILENCE, RESERVING ALL COMMENT AND CONVER- SATION UNTIL OUTSIDE THE DOORS OF THE CHURCH. It is of the utmost importance that the action and music synchronize. It is equally important that the musical selections and improvisations be of a high order. This does not mean the music should be difficult or elaborate. For instance, if it is not feasible to use the selections mentioned above, a selection of Bach Chorales could be made, ‘which, if well played and carefully registrated, would be in keeping with the moods of the pageant. But above all things avoid sugary sentimental tunes and harmonies. [33] DUE RETURNED__ OCT 0 7 1999 Sci? 2 4» ’»i»L?3 sh‘ 1‘ g Dear Reader: The paper in this book is extremely brittle. Please handle with care. Unlvonlty of Iliuoufl - Columbia ELL N16904 HIIIIIIIIIII uu«I nIm¢mnmIn|In O10-002706076