one of real importance. If we are to present an Oriental drama, the ordinary pulpit background is, of course, inappropriate. Must we, therefore, have special scenery constructed to fit each drama or pageant which we are planning to give? Is it one of the essentials of church drama that we install a "little theater workshop” in the church basement as a permanent part of the church equipment? If this is really necessary, then it rather naturally follows that there are very many churches which will not undertake anything in the line of drama or pageantry because of the expense involved, the lack of artistic talent, and the unwillingness on the part of the church authorities to turn over any portion of the church building permanently for such a purpose. In most instances there is neither time, talent, nor money for the construction of elaborate "sets."

If worship in drama is to become a part of the regular program of many churches, as the writer believes it should, then the matter of scenic settings for the dramas and pageants must be made as simple as possible, rather than as elaborate as possible.

There is a question other than the one of finance and practicability involved in this matter of scenery. Is it really desirable in church drama to have carefully prepared, elaborate scenery for each act and scene? Or, is it just possible that elaborate scenery will detract from, rather than add to, the effectiveness of the dramatic message, and be a real detriment to the idea of worship in drama?

Remembering what has been said previously as to the vital importance of simplicity in all the matters pertaining to church drama, we shall find that it has special application just here. If scenery is to be used at all, it must, of course, be correct. It would never do, for instance, to have a representation of the front of an Oriental house-suggesting the home of Elimelech and Naomi in Bethlehem in the days of the Judges-made with elaborate representation of the large iron hinges of the later colonial days in New England. Yet exactly this was done in one instance in connection with the preparation for the drama of "Ruth the Loving."

The scenery for Biblical dramas can be very effective and at the same time very simple. Very many of the scenes of the Bible stories are located out-of-doors, and the suggestion of a grain-field by a few sheaves of yellow grain and some loose grain scattered over a brown or khaki-colored canvas on the floor will do wonders in transporting both participants and audience away from the

ordinary surroundings of the familiar church auditorium to the far-away land of Bible times.

But very often a drama or pageant will be most effective if given without any scenery at all. Of course, it is necessary to do some things to change the background from the ordinary prosaic pulpit surroundings. Probably the best, and certainly the most inexpensive, method of doing this is to arrange a background of curtains. A curtain in front of the platform may or may not be necessary-just as commonly, not-but a curtain at the back of the platform may truly be regarded as an essential. Dark gray flannel is both relatively inexpensive, durable, easily handled, and effective. Whatever material is used, care must be taken to provide enough material so that the curtain will hang in ample folds, and it must be of a neutral color so as to be restful to the eyes of the audience and to take the color effects of the lighting properly. A curtain of sufficient length to extend entirely across the pulpit platform, and a little over at each end if possible, and about nine or ten feet in height will be found an effective, inexpensive, and easily managed sort of background.

But the most important essential of all is the spirit in which the work is to be done. No one connected in any way with the work of worship in drama should for a moment be allowed to forget that this work is being done as an act of worship and for the sake of making the Father more perfectly known through a more complete knowledge of his word, or of bringing to the church a more complete knowledge of some outstanding need of the world for his light and love.

And one of the ways and means of doing this is to keep the spirit of prayer constant in all the planning and execution of any work of this sort. When the planning committee begins its work with a season of prayer at the very first meeting, seeking divine guidance in the selection of the material to be presented and the people to take the parts; when each participant as he begins to memorize his part does it with a prayer; when every rehearsal is begun or ended with prayer, and when the presentation is opened both behind the scenes and with the audience with a season of prayer, then that presentation will be in very truth worship in drama, and then will it be certain to accomplish real results in spiritual uplift.

V

DRAMATIC SCENES IN THE BIBLE

One of the perfectly natural questions which almost any group of young people is likely to ask in connection with this matter of a program of church drama is, "Where can we find material suitable for worship in drama?" And the first, and most obvious answer is," in the Bible."

Objections

But there are two objections which are likely to be raised immediately. One is that there are no dramas in the Bible, and the other is that the Bible, as a book more than human in its origin, is too sacred to be used in such a way.

To the first of these objections there is one answer: Study the Bible, and you will find that while there may be few dramas in it (in the technical sense, although the greatest drama of literature is there the book of Job), throughout the Bible there are very many dramatic scenes, particularly in the Old Testament, and that many of the stories of the New Testament lend themselves most naturally to arrangement and presentation in dramatic form. So the material is there.

With reference to the second objection, it is unquestionably true that the Bible is a book more than human in its origin, and that one of the very best descriptions of the Bible ever made is that contained in the title of Ian Maclaren's last book, "God's Message to the Human Soul." It is God's message; the Psalmist truly sang long ago of " thy word" as giving light. And this fact makes it all the more imperative that this word should have every possible opportunity to reach the souls for whom it was intended. It is all too true that for a great many people the Bible is a closed book— it speaks a language so different from their every-day conversation that it means very little to them on those rare occasions when they hear it read, or on those still rarer occasions when they casually turn its pages for themselves. And even those who have from childhood's days been familiar with its words, all too often they have merely read it, and seldom seen it. To far too many, even

of our church young people, the heroes and heroines of the Bible are not real people who really lived on this earth, met real temptations of actual life, and won real victories with no other help at their disposal than is available for every young man and woman today. On the contrary, to many of our own young people these Bible heroes and heroines are unreal, vague, and somewhat mythical characters about whom you read in the Bible, but who have no special relation to the present and the practical problems of real life.

Hence, anything which will take these great characters out of that mythical, mystical past and make them really live again-make them actual and real-fighting real temptations and winning real victories-anything which will do that is not only worth doing, but there is a real obligation resting upon the church to do it. If it is true that Biblical dramatization will not only give our church young people something worth while to do, but will at the same time actually make the Bible live for them as no other method of teaching can possibly do, then not only is Biblical dramatization permissible in the church, it is almost compulsory upon the church to undertake it.

Dramatic Material in the Old Testament

But somebody is already asking, "What are some of those dramatic scenes in the Bible?"

It will be well worth while to study briefly some of the familiar (and some not so familiar) scenes of the Old Testament to see how readily they lend themselves to presentation in dramatic form.

In the list which follows, the writer has constantly kept in mind the limitations of the ordinary, average church, both as to personnel and as to equipment and training, and has named only those scenes and stories which can be readily dramatized and presented by the average group with the average equipment—or lack of it. Nor is this list intended to be exhaustive, but rather suggestive. There is plenty more material in the Old Testament for this purpose than is here named, waiting to be "dug out" of its obscurity by some diligent students.

1. Joseph, either as a boy, dreaming of future greatness and making the whole family envious by his recounting of his dreams; or as a prisoner in Egypt; or as the Governor, magnanimous to the last degree toward those whose envy had so cruelly wronged him as a lad. Almost any portion of the life-story of Joseph, "The

Dreamer Who Made His Dreams Come True," lends itself admirably to dramatization and contains a strong challenge to faithfulness and loyalty in the midst of adverse conditions.

2. Moses. Certain scenes in the life of Israel's greatest statesman, particularly his call to service at the burning bush, his fellowship with his "minister," Joshua, his appearance with the Tables of the Law on his descent from Mount Sinai with "shining face," and his farewell address to the people, are so strongly dramatic as to make a deep and abiding impression upon the lives of the young people.

3. Deborah the Prophetess. The story of Deborah and her arousing of Barak to lead the children of Israel against Sisera is one of the outstanding instances in the Bible of the possibilities of feminine leadership. It might well be presented by a group of young women to impress the message of the place and power of women in religious leadership. It is rather too brief for a full evening's program, but may well be used for a special opening service in the Sunday school on " Girls' Day," or for a special young people's meeting.

4. Ruth the Loving. The story of Ruth has been called the most beautiful love-story in literature. Certain it is that one may search carefully and far among the literatures of the world and fail to find a sweeter, more unselfish, more "homey " story of life and love. Preeminently a story, it lends itself very beautifully to simple, yet most effective dramatization. Among all the Old Testament material for worship in drama the story of Ruth stands out as perhaps the very best of all with which to begin a program of church drama. It is so simple that the smallest church group may dare attempt it, so perfectly natural that little is required for scenic settings, except a few sheaves of yellow grain to suggest the field of Boaz, requiring so few principal characters that a young people's society or organized Sunday-school class with only a dozen or fifteen members may attempt it with confidence. Yet it is so deeply spiritual, so appealing in its simplicity, and so forceful in its message of love and loyalty to the highest and holiest ideals, that its message is sure to be remembered through many days, both by participants and audience.

5. Jonathan and His Armor-bearer. Among the frequently overlooked stories of the Old Testament is this one of Jonathan and the surprise of the Philistine garrison at Michmash. For inter