Part III: The Child.
CAROLS
_Second Action_ 1. Joseph’s Carol. _Third Action_ 2. Fairy Round. _Fourth Action_ 3. Luck Song. _Fourth Action_ 4. The Tree-Child’s Lullaby. _Seventh Action_ 5. “We Three Kings of Orient Are.” _Eighth Action_ 6. The Bell, the Sword and the Laughter. _Eighth Action_ 7. Dance-Carol of the Evergreen. _Tenth Action_ 8. Ballad of the Kings and the Pedlar.
In modified small-scale productions of the Masque, where it may be impracticable to render all the music in its completeness, the Carols alone may be sung. In that event, the Choruses should not be wholly omitted, but may be rendered as Choral Poems spoken in chanted speech by properly qualified leaders (at Stage A and Stage B), as indicated in the “Guide to the Evergreen Tree” pamphlet, referred to in the Announcements on the last page of this volume.
_THE COMMUNITY CHORUS_
is in two divisions, as follows:
CHORUS A, in White: Men and Women: located near Stage A.
CHORUS B, in Red: Men: located near Stage B.
_TIME AND PLACE_
TIME
The Time is laid on a night shortly after the birth of Christ.
PLACE
The Masque takes place in Four Regions, indicated by Two Stages, and Two Aisles, the Audience being located between the two stages.
Stage A represents the Place of Outcasts: a knoll, with path, in the Wilderness, before the Evergreen Tree.
Stage B (located opposite Stage A) represents the Place of Empire: the Gateway and Steps to the Palace of Herod.
Aisle I (located on the right of Stage B, as one faces Stage A) represents a Pathway from the land of Herod into the Wilderness.
Aisle II (located on the left of Stage B and parallel to Aisle I) represents another Pathway into the Wilderness.
See Ground Plan opposite page 69.
_From the Gospel of Saint Matthew: Chapter II_
Now when Jesus was born in Bethlehem of Judæa in the days of Herod the king, behold, there came Wise men from the east to Jerusalem, saying, “Where is he that is born King of the Jews? for we have seen his star in the east, and are come to worship him.”
When Herod the king had heard these things, he was troubled....
And he sent them to Bethlehem, and said, “Go and search diligently for the young child; and when ye have found him, bring me word again, that I may come and worship him also.”
When they had heard the king, they departed; and lo, the star, which they saw in the east, went before them, till it came and stood over where the young child was....
And being warned of God in a dream that they should not return to Herod, they departed into their own country another way.
Now when they were departed, behold an angel of the Lord appeareth to Joseph in a dream, saying, “Arise and take the young child and his mother, and flee into Egypt, and be thou there until I tell thee: for Herod will seek the young child to destroy him.”
And he arose and took the young child and his mother by night, and departed into Egypt....
Then Herod, when he saw that he was mocked of the Wise men, was exceeding wroth, and sent forth, and slew all the children that were in Bethlehem, and in all the borders thereof, from two years old and under.
THE EVERGREEN TREE
FIRST ACTION
(“Who Keepeth Watch?”)
_STAGE A: THE PLACE OF OUTCASTS_
It is night.
In a dark place of the wilderness, a tree is growing.
Before it is an open space on a knoll, from which—left and right—a path leads down away into the desert.
At one side, in shadow, sit ELF and GNOME.
At centre, in starlight, stands TREE, half emerged from dim boughs.
[Sidenote: _First Chorus: A,1. Chorus of the Wilderness_]
_CHORUS_
_Who keepeth watch in the lone wilderness_ _For the coming of a sign?_ _Who sendeth her roots down into the dark places_ _Seeking the springs of life,_ _And is restored:_ _And lifteth up her boughs in prayer of quiet,_ _And lo, they are filled with starlight?_ _The Tree: the Tree keepeth watch for the coming of a sign._ _Who waiteth very patiently in the night desert_ _For dawn of a new morrow?_ _And the wild beasts draw near unto her: they are tired_ _But none is afraid,_ _For her lap is like to a mother’s, where little children_ _Play till they weary and sleep:_ _There dryads bring her their dreams,_ _And the fairy folk are at home.—_ _Who liveth very old, alive with young green,_ _And waketh her heart with song for the coming of light?_ _The Tree: the Tree:_ _The Tree keepeth watch in her heart for the coming of light._
(A long wailing cry resounds from the dark.)
THE VOICE
Hi-ih!
ELF
What’s that?
GNOME
That is Wolf. He’s coming from the desert. He is lonely.
ELF
Why is he coming here?
GNOME
Tree is here. All the creatures come to Tree, when they are lonely.
ELF
Even Tree seems lonely to-night, With eyes that look far away.— Tree, what are you watching for?
TREE
A star.
ELF
But the sky is filled with starlight.
TREE
I am watching for a new star. I have been waiting for it a long while. I think I shall see it again soon.
GNOME
Again?—Have you seen it before?
TREE
Yes: once: One night, not long ago, I saw it rising in the east, across the desert. It made a path of wonderful shining. Then it stood still in the sky—far over yonder!— And seemed I heard shepherds singing.
(WOLF enters.)
WOLF
Hi-ih! It’s a cold night. I want to come out of the wind.
GNOME
Ask Tree.
WOLF
High-o! Green-and-alive! Can a fellow come out of the wind, here?
TREE
Welcome, Wolf.
WOLF
And what may you three be talking about?
ELF
A star.
GNOME
A new star in the east.
(Noises of puffing and growling are heard.)
THE NOISES
Ooff!—Ah-yarrr!
ELF
Who now?
GNOME
That’s Bear and Lion coming. They’re tired and sleepy.
(BEAR and LION enter. Bear carries a bee-hive; Lion, a large bone.)
BEAR
Ooff! Ooff! Where’s a hollow to sleep in?
GNOME
Ask Tree.
TREE
Welcome, Bear! Break a bough for your pillow.
WOLF
(Edging away)
Hi! Not my tail!
LION
Ah-yarrr! I’m tired of killing. Where can I bury my bone?
GNOME
Ask Tree!
TREE
Welcome, Lion. Lay your head on my roots and rest.
LION
Yarrr! It’s a night of cold. You kill nothing, Bear: how do you keep so fat?
WOLF
His belly is full of wild honey.— Here! he’s soft and round: Keep him in the middle.
BEAR
Three are warmer than one. Go to sleep.
(WOLF and LION lean against BEAR. Slowly all fall into slumber and low snoring.)
THE THREE
(Murmuring together)
Hi-yo!—Ooff! Ooff!—Ah-yarrr!
ELF
And why do you wish the star to come, Tree?
TREE
Because of my dream.
GNOME
What dream?
TREE
Because I have dreamed a new star will come in the night; And will gather all the old stars out of the heaven To sparkle upon my branches. And there they shall sing all together. And in the midst of them the new star Shall laugh aloud, Shall laugh like a young child, And my boughs shall be as sheltering arms to make him a home. And there we shall dwell no more, dreadful in the desert, Where wild beasts kill one another, and weary of killing; And there shall be no more lonely things; But there shall be carolling of stars and a young child’s laughter; And I shall be the angel in his home.
ELF
The wild beasts are fast asleep.
GNOME
Nothing is stirring in the world.
ELF
Yes: look! I think I see—
GNOME
Where?
ELF
Don’t you see—there! through the dark: It is moving towards us.
GNOME
I think I hear some one singing.
ELF
It is drawing nearer.
TREE
O my dear dream!
ELF AND GNOME
Is it the new star?
TREE
Yes; but it has fallen down out of the heaven. It has made itself very small and lowly. It has made itself into a little lantern, To light the feet of them who wander in the wilderness.
ELF
See!
GNOME
Hark.
SECOND ACTION
(The Lantern in the Desert)
_AISLE I: A PATHWAY INTO THE WILDERNESS_
Moving toward the Tree, a Procession enters singing.
First comes JOSEPH in white. He holds high a tall staff, from which a swinging lantern shines. Behind him comes, in pale blue, MARY, attended by SHEPHERDS in white. These carry lighted candles and long crooks, and they are ranged about a MANGER, borne in their midst.
[Sidenote: _Carol 1. Joseph’s Carol_]
JOSEPH
_As Joseph I was walking,_ _I heard an angel sing:_
JOSEPH AND SHEPHERDS
“_This night shall be the birthnight_ _Of Christ our heavenly King._
_His birth-bed shall be neither_ _In housen nor in hall,_ _Nor in the place of paradise,_ _But in the oxen’s stall._
_He neither shall be rockèd_ _In silver nor in gold,_ _But in the wooden manger_ _That lieth on the mould._
_He neither shall be clothèd_ _In purple nor in pall,_ _But in the fair white linen_ _That usen babies all._”
JOSEPH
_As Joseph I was walking_ _Thus did the angel sing;_
JOSEPH AND SHEPHERDS
_And Mary’s Son at midnight_ _Was born to be our King._
THIRD ACTION
(“Somebody Is Coming!”)
_STAGE A_
Tree and the FAIRIES have watched and listened eagerly.
TREE
(To ELF and GNOME)
Look, look! The light is coming here. Rouse up the wild beasts, And let us make a welcome for these wanderers.
[Sidenote: _Carol 2. Fairy Round_]
TREE, ELF, GNOME
(Sing in a round)
_Wolf, Bear, Lion!_ _Wolf, Bear, Lion!_
_Are you awake?_ _Are you awake?_
_Somebody is coming!_ _Somebody is coming!_
LION
(Waking and rubbing his eyes, joins in the round)
_Who can it be?_ _Who can it be?_
BEAR
(Rolling to his feet with an “Ooff!” imitates LION)
_Let’s go and see!_ _Let’s go and see!_
WOLF, BEAR AND LION
(Scrambling down the path)
Hi-ih! Ooff! Yarrr!
TREE
Peace, wild folk! Make a welcome for these new comers.
LION
(Grinning savagely)
Welcome, they are! My mouth waters for them.
WOLF
(To LION)
Hi! Let me pass. I’ll pick a bone with you—after the meat’s gone.
BEAR
You talk loud, but you keep your tail between your legs.
WOLF
That’s more than _you_ can do—with yours!
LION
Now for a new kill!
FOURTH ACTION
(The Light-Child)
_APPROACHING-SPACE and STEPS A; Then, STAGE A_
Approaching along the path, JOSEPH and his GROUP pause, confronted by the BEASTS.
JOSEPH
God save you, Sir Lion!
LION
Save yourself, Sir Man—if you can.
WOLF
Look sharp: there’s more there behind.
BEAR
They carry a trough there. What’s in it?
SHEPHERD
Keep off!—Aim your blows, fellows: strike!
(The SHEPHERDS, with their crooks, drive back the BEASTS. JOSEPH intervenes.)
JOSEPH
Stay, good Shepherds! Put away your crooks. Fear nothing, Mary. These wild folk crave our leave to behold the Child And do Him homage.
LION
Man-child!—Yarrr!
JOSEPH
(Pausing before the Evergreen Tree)
Pray you set down the manger. Now, Sir Beasts, And you, Elf Folk, will it please you draw near and look in?
(On either side the SHEPHERDS draw back, revealing at centre the MANGER, out from which a wonderful glow shines upward, touching the faces of the SHEPHERDS and hushing the BEASTS with awe.)
TREE
The light! The light!
[Sidenote: _Second Chorus: A,2. Light of the World_]
_CHORUS_
_Where sleepeth till dawn-break the light of the new morrow?_
_Alleluia!_ _Lo, as a babe, it sleepeth in a little manger:_ _Light of the World! Alleluia!_
_The dark is his cradle;_ _The beasts come about him;_ _The stars in their watches_ _Are covered with cloud._
_Home hath he none;_ _The desert receives him—_ _The place of outcasts_ _And lonely things._
_No sound is heard there_ _Save shepherds singing;_ _The lords of earth_ _Avert their faces;_ _Dark—dark is his cradle._
_Yet surely will dawn break with light of his new morrow:_
_Alleluia!_ _Yea, for the babe that sleepeth in a little manger_ _Is Light of the World: Alleluia!_
(The FAIRIES and BEASTS peer in the MANGER with awed delight. Murmuring aloud, they speak to JOSEPH.)
ELF
May we not dance for him?
GNOME
And make gambols?
LION
May I give him my bone? ’Twill make him a rare toy!
BEAR
Ooff!—If he lie in my lap, my fur will warm him.
WOLF
Look-ee! If I wag my tail for him, he will laugh.
JOSEPH
Hush! He is asleep. Please do not wake Him.
(The BEASTS draw back. Kneeling down with ELF and GNOME, all Five sing together.)
[Sidenote: _Carol 3. Luck Song_]
THE BEASTS AND FAIRIES
_While this Light-Child sleeping lies,_ _Word or murmur never wake him!_ _But when he shall open his eyes,_ _Mirth and antics we will make him._ _Amen!_
JOSEPH
Thank you, friends, for your courtesies; But now the night grows old, and we are weary of wandering. Out of the land of Herod we are fled, and go into Egypt. Mary and Joseph are we, and Jesus, the little Child, Whom these good Shepherds bear with us in his birth-cradle. Now we must needs find shelter for the babe to rest.
TREE
Now welcome, Mary and Joseph, and Jesus, the little Child! Rest you, I pray, with these Shepherds, under my boughs.
JOSEPH
Gentle Tree, you say kindly.
SHEPHERD
(To MARY, with gladness)
Here Herod can never harm Him, Lady dear.
TREE
Who is Herod, that he would harm a little child?
JOSEPH
Herod is lord of the world—there, in the land we have fled from. Mighty is he, yet afraid: for out of the east Three Wise Men followed a star to this poor manger, Telling Herod a little child should inherit his kingdom. Mighty is Herod, yet trembles now on his throne, And wishes this Little One death.
SHEPHERD
But shall never find Him!
JOSEPH
Nay, for none in Herod’s kingdom knows Where Child and Mother and Manger and guiding Star Are vanished away. Only you, dear folk of the desert, Share now our secret.
TREE
And shall ward it full well. So enter into my shelter, with your good Shepherds, Joseph and Mary and Manger-Child—and rest.
(TREE and MARY pass behind within shadow. As the SHEPHERDS with the MANGER follow, a sweet, lulling VOICE sings from within.)
[Sidenote: _Carol 4. The Tree-Child’s Lullaby_]
THE VOICE
_Babe of my love,_ _Lull thee to rest!_ _Bird of my heart,_ _Night is thy nest._
_Evergreen bough,_ _Shadow my babe!_ _Shelter my bird,_ _Evergreen bough!_
_Star of my dreams,_ _Soon thou wilt shine:_ _Dream of the stars,_ _Splendor be thine!_
_Evergreen bough,_ _Shine with my Star!_ _Shelter his dreams,_ _Evergreen bough!_
(JOSEPH, pausing a moment before he follows, speaks to his lantern.)
JOSEPH
Now lantern, that dost hide His holy light, Show forth on high thy little Master’s star!
(He blows out the lantern.
Instantly a shining Star appears on the top of the Tree. Staring upward with gestures of surprise, the CREATURES murmur aloud.)
BEASTS, ELF AND GNOME
The star! The star!
(In wonder, while the CHORUS sings, they follow after the others.)
[Sidenote: _Third Chorus: A,3. The Star_]
_CHORUS_
_Where shineth in whiteness the star of the new Master?_ _Alleluia!_ _Lo, from the tree that sheltereth a child’s dreaming_ _Shineth His star: Alleluia!_
FIFTH ACTION
(“Sword of the World”)
_STAGE B: THE PLACE OF EMPIRE_
Gateway and Steps in front of HEROD’S Palace.
With spears and in armor, the CAPTAIN and the HOST OF HEROD are assembling.
With deep, pounding reverberation, VOICES of the male CHORUS conflict with the far, high singing of the other CHORUS, now dying away.
[Sidenote: _Fourth Chorus: B,1. The Might of Herod_]
_CHORUS_
_Herod—Herod—Herod—Herod, the mighty_ _Lord of the world!_ _Hail him, hail him, hail him Herod the Master!_ _Bow to his will!_
_His power what star can confound?_ _Or cloud can darken his splendor,_ _Who bindeth his brow with the lightning_ _And girdeth his loins with the storm!_
_For he maketh the world of men_ _The winnowing floor of his glory:_ _And he weareth the mail of the Most High,_ _And shareth the mantle of God.—_
_Millions obey him,_ _Man is his tool._
_Forth on his errands_ _Fly his red legions;_ _Domes of his dwelling_ _Glow in the dawn._
_Fire—fire_ _Forgeth his empire;_ _Slaves—slaves_ _Rear his dominion;_ _Sowing and harvest_ _Bleed in his furrows;_
_Peace is his footstool,_ _War is his crown._
_Herod—Herod—Herod—Herod, the mighty_ _Lord of the world!_
(Beside the gate, the CAPTAIN of the HOST strikes a deep-toned gong and calls aloud.)
CAPTAIN
Herod! Herod, the most High!
(HEROD comes forth with his Followers. Clad in long robe of Tyrian purple, he wears on his head a gold helmet. In his hand, he holds a great staff, surmounted by a globe of the world.)
HEROD
Who calls so loud at my gate?
CAPTAIN
I, Captain of the Host of Herod.
HEROD
Why do you cry on my name?
CAPTAIN
For I am come at your bidding, King of Men. Lo, we are here to do your command.
HEROD
My command I gave you, to bring unto me three Wise Men, Kings of the East. Show them before me now.
CAPTAIN
Most High, they are not here. We have made far searching But they are vanished away.
HEROD
Where are they gone?
CAPTAIN
No man has seen.
HEROD
Where shines their star?
CAPTAIN
Heaven has no sign.
HEROD
Where was he found—the child they worshipped?
CAPTAIN
Lowly he lay, in a poor manger.
HEROD
Now bring him before me!
CAPTAIN
He too has departed.
HEROD
My command! My command! My command! Have ye not slain him? Speak!
CAPTAIN
Herod, most High, how shall the vanished be slain? No sign gives us token Where child and mother and manger and guiding star Are vanished away.
HEROD
Powers of my crown and throne! Am I not Herod, Herod, the Mighty? Who shall defeat my power?
[Sidenote: _Fifth Chorus: B,2 & A,4. The Wrath of Herod._]
(Close by, from the Place of Empire, deep CHORAL VOICES reiterate HEROD’S boasts of triumph; far off, from the Place of Outcasts, they are answered in antiphony by high, sweet CHOIRS, affirming his defeat.)
[Sidenote: _B,2, Reiterative_]
_CHORUS B_
_Herod, our lord and king! Who shall defy his command?_
[Sidenote: _A,4, Antiphonal_]
_CHORUS A_
_A star! A star shall confound him._
HEROD
Am I the Sword of the World, and shall a weakling disarm me?
[Sidenote: _B,2, Reiterative_]
_CHORUS B_
_How shall the crook of a shepherd shatter the sword of a king?_
[Sidenote: _A,4, Antiphonal_]
_CHORUS A_
_A child! A child shall disarm him!_
HEROD
Hath God anointed me, yea, and shall a babe disinherit?
[Sidenote: _B,2, Reiterative_]
_CHORUS B_
_Lo, shall the light of a manger outshine his glory of palaces?_
[Sidenote: _A,4, Antiphonal_]
_CHORUS A_
_A dream! A dream shall survive him!_
HEROD
Now, by my host of power! he shall not escape me— This babe low-born, but for his sake shall all The hosts of childhood perish. Go forth and slay them, All newly born of women, that he among them May not escape, and all who shall resist My power, young men or old, brothers or fathers, Destroy them likewise—yea, with red fire and spear And burning sword-blade. Go! My will is God’s, For I am Herod—Herod, lord of the world!
(Raising his sword, the CAPTAIN makes sign to the HOST, who lift high their spears. As the CHORUS breaks into song, they depart, marching, while HEROD reënters his palace.)
[Sidenote: _Sixth Chorus: B,3. Song of the Persecuting Host_]
_CHORUS_
_Go forth, ye host of power!_ _Lay waste, lay waste the lowly!_ _For Herod’s might is a blazing tower,_ _And Herod’s wrath is holy._ _Yea, Herod’s wrath_ _God’s ire it hath_ _As he rends the weak asunder._ _Go forth upon his fiery path_ _Go forth, ye host, in thunder!_
_The strong, the strong shall reign!_ _Unleash the hounds of pain,_ _And loose their cry_ _Where the wounded lie_ _And the weakling race are slain._
_Go forth, ye host of power!_ _Destroy, destroy the dreaming!_ _For none may pause for a dream to flower_ _Where Herod’s might goes streaming._ _Yea, Herod’s might_ _God maketh His right_ _When the weak of the world go under._ _Go forth upon their darkling flight,_ _Go forth, ye host, in thunder!_
SIXTH ACTION
(The Befriending)
_STAGE A_
Now, from the Place of Outcasts, CHORAL VOICES sing, while once more JOSEPH, MARY and SHEPHERDS bearing the MANGER appear, coming forth from the shelter of the Evergreen. With them TREE also appears.
[Sidenote: _Seventh Chorus: A,5. Glory and Serenity_]
_CHORUS_
_Glory and serenity,_ _Beauty of desire,_ _Bless to-night this holy tree_ _And our candle fire._ _Tree of our hearts, behold!_ _How the dreams of a child in your boughs unfold_ _And the weary of earth put off their pain_ _Where the Child of our love has lain._
JOSEPH
Shepherd, the morrow’s light will soon begin To wake the desert world. Here we have lain This night in quiet refuge; yet through sleep I heard far off the host of Herod rage Against this Child His kingdom. So once more Let us go forth our way, till He is safe Beyond the war-lord’s might.
SHEPHERD
Yea, let us go, Yet not till we have thanked this gentle Tree.
JOSEPH
Dear Tree, you have befriended in his need This little Child new-born. So—for His sake— Your gracious boughs shall evermore be green, Nor ever in winter lose their April sap, But freshly, at this season of His birth, They shall be fragrant of the hallowed dreams His happy heart bequeathes you.
TREE
He was welcome, And I will deck my boughs with infant joys In his remembrance.
SHEPHERD
So we say—God keep you! And not ‘Goodbye’!
JOSEPH
(To TREE)
Nay, still another token We leave with you: His star—to be henceforth A morning star of song for other children Who rest from Herod’s wrath. So you shall be No more a forest sprite, but a hallow’d angel— His shining angel with a sheathèd sword To guard all childhood’s home. Keep here his star: Farewell!
TREE
O fare you well, dear wanderers, That have fulfilled with love my lonely dream!
(With lighted candles, in processional, the SHEPHERDS with MANGER, MARY and JOSEPH depart toward the desert. While the CHORUS sings, TREE stands gazing after them.)
[Sidenote: _Eighth Chorus: A,6. Glory and Serenity_]
CHORUS
_Glory and serenity,_ _Beauty of desire,_ _Blend the song of men set free_ _With their children’s choir._ _Child of our hearts, behold!_ _How the dark is strewn with your fairy gold_ _And the bitter of soul lay-by their spleen_ _Where the Tree of our love grows green._
(TREE goes within.)
SEVENTH ACTION
(The Three Wise Men)
_AISLE II: ANOTHER PATHWAY INTO THE WILDERNESS_
Entering from its farther end appear, in procession, the THREE WISE MEN, and their FOLLOWERS. Lighted by torches of their Attendants, this PAGEANT OF THE KINGS moves onward in oriental splendor.
Each KING wears a crown of gold.
The crown of the youngest, BELSHASAR, is set on a turban. He is clean shaven, pale and recluse. The garb of him and his Group has a tone of asceticism.
The crown of the middle-aged, MELCHIOR, is placed on a helmet. He is thick-set, black-bearded and sharp-eyed. A martial glitter touches him and his Group.
The crown of the oldest, CASPAR, is set on a high-peaked hat with wide flapping brims. His beard is silver white, his face ruddy and wrinkled with laughter. His ample gown is gorgeous with red dyes and jewels. Like him in jocular splendor are his Followers.
As they approach the place of the Tree, KINGS and FOLLOWERS come singing a carol, led by the KINGS.
[Sidenote: _Carol 4. Trio and Chorus: “We Three Kings of Orient Are”_]
BELSHASAR, MELCHIOR AND CASPAR
_TRIO_
_We three kings of Orient are:_ _Wending home, we traverse afar_ _Field and fountain_ _Moor and mountain_ _Seeking for our lost star._
_CHORUS_
(Of the THREE KINGS and their FOLLOWERS)
_O Star of Wonder,_ _Star of Night,_ _Star with royal beauty bright!_ _Eastward leading,_ _Home proceeding,_ _Show once more Thy perfect light!_
_TRIO_
_Where the guiding glory once shone_ _Dark we wander onward and on,_ _Watching, hoping,_ _Dimly groping,_ _Seeking the light that’s gone._
_CHORUS_
_O Star of Wonder,_ _Star of Night,_ _Star with royal beauty bright!_ _Eastward leading,_ _Home proceeding,_ _Show once more Thy perfect light!_
EIGHTH ACTION
(“Which, O Lord, is Wisest?”)
_STAGE A_
The THREE KINGS enter before the Tree, their Followers grouped on the right. As he comes, KING CASPAR lifts his voice in a carol, solo, in which BELSHASAR and MELCHIOR soon join with him. Each of them, in his singing, acts out the sung carol in his bearing and movement.
[Sidenote: _Carol 5. Solo and Trio. The Bell, the Sword and the Laughter_]
CASPAR
_Lord of life! how pleasant ways_ _Are thy paths of danger,_ _Leading down from Herod’s place_ _By an ox’s manger:_ _Lo, there lay a little child_ _Rosy ’neath the rafter.—_ _Ahaha! how glad he smiled!_ _Lord, how blithe his laughter!_
MELCHIOR
_Laughter! Nay, I heard none laugh._ _Whom thou heardest—say now!_
CASPAR
_Him, the child, where mid the chaff_ _He lay on the hay-mow._ _Sure, Belshasar, thou didst bend_ _Nigh him and thou heardest._
BELSHASAR
_Caspar, nay: I comprehend_ _Not one thing thou wordest._
CASPAR
_Ohoho! Still, Lord, I hear_ _Music of that laughter._
MELCHIOR
_Daft thou ever wert: I fear_ _Still thou growest dafter._ _Nothing heard I, by my soul_ _But a sword its clanging._
BELSHASAR
_Nay, a bell, I heard it toll:_ _On a cross ’twas hanging._
MELCHIOR
_Now, am I not Melchior?_ _By my crown its keeping!_ _’Twas a sword that dangled o’er_ _Where the babe lay sleeping._
BELSHASAR
_Nay, a bell—a passing-bell:_ _Lonely was its ringing._
CASPAR
_Ahaha! I heard full well_ _‘Merry Christmas!’ singing._
CASPAR, BELSHASAR AND MELCHIOR
(Sing together)
_Lord, how may we wise men tell_ _How to clothe our starkness?_ _Song and sword and passing-bell_ _Lure us through the darkness._ _Send us sign of hidden things—_ _Thou who naught despisest!_ _Lo, of us three crownèd kings,_ _Which, O Lord, is wisest?_
VOICES OF ELF AND GNOME
(Echo in song, within)
“_Which, O Lord, is wisest?_”
(In songful laughter)
_Óhoho! Aháha!_
CASPAR
Lord, Lord, Thy sign! Harken, wise men, my brothers: Laughter, laughter He sends us for a sign!
BELSHASAR
Nay, voices of the desert places!
MELCHIOR
Mockings of midnight!
ELF AND GNOME
(Enter, laughing lyricly)
_Óhoho! Aháha!_
CASPAR
Heigh! What is here? Elf!—Gnome!
BELSHASAR
Keep back! They are imps of evil.
MELCHIOR
Stay! Do not speak with them. Hush!
(CASPAR pays no heed, but greets the FAIRIES, who return his greeting with blithe bows.)
CASPAR
Now, neighbors, God rest you merry!
ELF
Welcome, Wise Man!
GNOME
Welcome, Sir King!
MELCHIOR
(To BELSHASAR)
He speaks with them.
BELSHASAR
(To MELCHIOR)
Come. He is lost!
(They draw away.)
GNOME
Where are you from—ye Kings?
CASPAR
From the East, returning home from Herod’s land.
ELF
What went you there for to do?
CASPAR
To worship a new-born Child.
GNOME
How did you find your way?
CASPAR
We followed a star.
ELF AND GNOME
(Nodding to each other)
A star!
CASPAR
Yea, but our path now has lost it.— Why do ye laugh there so merry?
ELF AND GNOME
(Pointing)
Look up!
CASPAR
The star! The star! Ho, Melchior, Belshasar, look up! His star—the star we have lost—is found: Behold, it shines on the tree!
MELCHIOR
I see no star.
BELSHASAR
’Tis darkness all.
CASPAR
What! Can you see nothing shining yonder?
MELCHIOR
Nothing. Your eyes are bleary with night.
BELSHASAR
Nay, he’s grown old and merry and cracked.
CASPAR
Deaf to His laughter, blind to His star! God save you, Wise Men! Let me grow old And merry and cracked, And talk with His wild, silly creatures.
(Enter WOLF, BEAR and LION.)
BELSHASAR
(To MELCHIOR)
Come farther!—Wild beasts they draw near.
(They move aside into shadow.)
CASPAR
Halloa, goodman Bear! Good even!
BEAR
(Forlornly)
Ooff! Ooff! My honey hive’s empty.
LION
Look you! My bone is picked bare.
WOLF
I’ve never a bone left to pick, And I’m losing the fur on my tail.
CASPAR
Heigh, Master Wolf, Sir Lion! How come ye so down at heart?
LION
The Light-Child is gone on his way.
WOLF
When a fellow can’t sing, he feels hungry.
CASPAR
Nay, neighbors, the Light-Child is with us; He smiles from His twinkling star Yonder, yea laughs in His light And bids us make merry together For joy of His shining.—Hoho! Bring hither my music, good fellows! Bring hither my fiddles and cakes To make Him a feast night.
(From among CASPAR’S FOLLOWERS, cakes and instruments are brought before him. To WOLF, BEAR and LION he gives each a cake; to ELF and GNOME a stringed instrument.)
Here, neighbors, Have each of you now a sweet frosting: Here’s moon-cake and sun-cake and star-cake, To mind us His birth-time. And you— Here’s tune-strings to play, while we sing To praise this good tree of His star.
(TREE enters, winged, all in white.)
ELF
Look, look! Tree now is his angel.
TREE
Welcome, dear passers in darkness! The Light-Child is gone on His way, But He leaves you His star, to make glad Your path in the wilderness.—Welcome Under His star!
CASPAR
Thank you, Tree. His star hath made merry our hearts To dance in His light—aye, to sing As we enter your place of His dreams. Come, neighbors, now blithe be our carol!
(With his sceptre for baton, CASPAR leads in dance and song WOLF, BEAR, LION, ELF and GNOME, the BEASTS holding their cakes, the FAIRIES playing their instruments. Joining in their blithe dance of devotion, the old KING clutches the great flap of his crown, to keep it from joggling off.)
[Sidenote: _Carol 6. Dance-Carol of the Evergreen._]
ALL
(Sing, to the strongly stressed dance-rhythm)
_O Evergreen, our Evergreen!_ _Thy boughs are brave and bright o’ sheen,_ _Thy bark and wood are live and strong_ _And bonny with the berry._ _So we will sing our even-song_ _And dance for thee, like king and queen.—_ _O Evergreen, dear Evergreen!—_ _To make thy heart be merry._
_O Even-song, our Even-song,_ _Thy notes this holy night belong_ _To Him who came to heal our teen_ _With love and starry leaven._ _His childhood keepeth ever green_ _All hearts of creatures here that long—_ _O Even-song, dear Even-song—_ _To make our earth His heaven._
(Following TREE, they dance joyously within. Outside, MELCHIOR, BELSHASAR and their Followers wait in the dimness.)
BELSHASAR
A bell! I hear a bell tolling.
MELCHIOR
A sword! The clang of a sword!
NINTH ACTION
(Outcasts)
_STAGE B AND AISLE I_
From the right of HEROD’S Gate sounds the tolling of bells—from the left, the clangor of swords.
During this, HEROD comes forth and stands on his dais. There, in shifting light and darkness, HELMETED MEN with swords hurry to him, confer in pantomime and depart.
Then, as HEROD stands looking down from his height, there passes below him a PROCESSION OF OUTCASTS, which—moving from Aisle II to Aisle I—passes on along Aisle I toward the Place of the Tree. When the last of this dirgeful Pageant has gone by him, HEROD returns in darkness within the gate.
The Procession of Outcasts is accompanied by FOUR MASKED FIGURES in symbolic garb, and consists of the FOLLOWERS of these, walking before and after a stretcher, borne at the middle of the Pageant. First of the Four is a Female Figure, SONG, who leads the Procession, looking upward; last, is a Male Figure, POVERTY, bowed in stature. The other two Male Figures walk at the head and foot of the stretcher, the first being SORROW, staring before him, the second one—DEATH, who bears a muffled babe in his arms, lulling it, with a calm smile.
On the stretcher a Poor Man lies wounded—a PEDLAR, with his pack for a head-rest. He wears a red jerkin and great boots and a workman’s cap. His beard is brown. His face is pale, his side bandaged. In one hand he holds a broken sword. The Man is CLAUS, whose Wife, RUTH, walks beside him, in peasant garb. At his other side walk two small tattered Figures—a BOY and a GIRL, their children.
As all pass slowly onward, the OUTCASTS chant their song-dirge, out of which rises momentarily, first, the Voice of RUTH, then of CLAUS, while at times Full Chorus gives deeper volume to the singing. Rhythms of tolled bells and of clanging swords accompany the two Semi-Choruses.
[Sidenote: _Ninth Chorus: A,7. Dirge of the Outcasts._]
THE OUTCASTS
(Semi-Chorus of Women)
_Bells, bells of the dark!_ _Tongues of iron and terror!_ _Toll no more, no more,_ _Bells of my breaking heart!_
RUTH
_Beautiful I bore him,_ _Babe of my life and milk:_ _Wonderful I wore him,_ _Yea, as a scarf of silk:_ _Terrible—terrible—_ _They tore him!_
THE OUTCASTS
(Semi-Chorus of Women)
_Bells of my breaking heart,_ _Toll no more, no more,_ _Tongues of iron and terror,_ _Bells, bells of the dark!_
_FULL CHORUS_
(Men and Women)
_God!—God of the broken heart!_ _Lord of the tolling bell!_ _God, our God, if thou art, if thou art,_ _Tell us, our Father, tell:_ _How darkly long_ _Shall the reign of the strong_ _Endure, to make of Thine earth our hell,_ _Ere thou, O Lord of the bleeding dart,_ _Rise in Thy light, to quell?_
THE OUTCASTS
(Semi-Chorus of Men)
_Swords, swords in my soul!_ _Tongues of fire and horror!_ _Clang aloud, aloud,_ _Swords of my burning heart!_
CLAUS
_Newly born I named him_ _Babe of my joy and ruth:_ _Kin of heart I claimed him,_ _Yea, as my star of youth:_ _Murderous—murderous—_ _They maimed him!_
THE OUTCASTS
(Semi-Chorus of Men)
_Swords of my burning heart!_ _Clang aloud, aloud,_ _Tongues of fire and horror,_ _Swords, swords in my soul!_
_FULL CHORUS_
(Men and Women)
_God!—God of the burning soul!_ _Lord of the clanging sword!_ _God, our God, from Thy kindling goal,_ _Answer us, answer, Lord!_ _How far and blind_ _Shall the kings of our kind_ _Beguile our hearts on their paths abhorred,_ _Ere thou, O Christ of a race made whole,_ _Come in Thy world-accord?_
TENTH ACTION
(The Wounded Pedlar)
_STAGE A_
While the OUTCASTS have been approaching, CASPAR has come forth from the Place of the Tree and watched them coming.
Now, where he joins BELSHASAR and MELCHIOR, the THREE KINGS call, in song, to the dim Figures who draw near.
[Sidenote: _Carol 8. Trio and Solo. Ballad of the Kings and the Pedlar_]
THE THREE KINGS
_Who are ye that come singing in darkness,_ _Outcast in the desert so late?_
CLAUS
_O Kings, it is me, Claus the Pedlar,_ _And these be my children and mate._
THE THREE KINGS
_Who are those there, your comrades, beside you:_ _Those shadows, say, who should they be?_
CLAUS
_They be Death, and his young brother, Sorrow,_ _And his old brother, Poverty._
THE THREE KINGS
_Nay, but who is that other amidst them,_ _That lifteth her face: What is she?_
CLAUS
_That is Song, and she is their sister_ _Who waiteth upon them, all three._
(CLAUS, RUTH and the two CHILDREN have now joined the THREE KINGS.)
CASPAR
_Goodman, why are the eyes of your woman_ _So weary of look and so wild?_
CLAUS
_He hath broken our home, hath King Herod,_ _And killed us our new-born child._
_Now tell us, ye Kings that be Wise Men,_ _Now tell us, where darkly we roam:_ _What right hath a king of a pedlar_ _To rob him his child and his home?_
MELCHIOR
_A king hath the right of his power_ _To raise high his glory and crown._
CLAUS
_Then it’s Claus hath the right of a pedlar_ _To pull his high glory adown._
CASPAR
_A king hath his host and his captains_ _To shatter the weak with his horde._
CLAUS
_Then it’s Claus he will be his own captain_ _To sharpen the edge of his sword._
BELSHASAR
_Nay, a king hath the might of his lordship_ _’Tis death for his slave to defy._
CLAUS
_Then it’s me hath the right of my manship_ _To master his might or to die._
_For ’tis God is my King and not Herod,_ _And God he keepeth no slave;_ _And liever than live Herod’s henchman_ _I’ll lie a free man in the grave._
_So I dared him his host and his captains,_ _And struck for my babe a sword blow;_ _And ’tis here they have broken my body;_ _With Death now right soon must I go._
CASPAR
Nay, cheerly, Claus! Cheerly, goodwife and kiddies! Now you have wandered to a lucky place. Our Evergreen shall heal your hurt. Run, Elf, And fetch him balsam gum to balm his wounds.
(ELF runs within.)
CLAUS
No balsam gum can heal us our lost babe. Ruth, wife, where lieth now his little body?
RUTH
Death holds him fast. Death holdeth him forever.
MELCHIOR
Herod is king. Ye should have awe of kings And bow before them.
BELSHASAR
We are kings and wise, And warn you what you owe to Herod.
CLAUS
Herod! I have paid back to Herod all I owe him— The red blade of this broken sword.
CASPAR
Brave said! Give me the hasp. See, we will hang it here On this green bough, to be your shining cross Of freedom and remembrance—yea, a sign For Herods, when they pass, to pause and think on.
MELCHIOR
(To BELSHASAR)
He flouteth what we say!
(BELSHASAR shrugs, but motions MELCHIOR to listen. ELF returns.)
CASPAR
So, Pedlar Claus, Lay-by thy pack, and rest you here till morrow; Tend him, good Elf and Gnome. Now, mother, bravely! These beasties shall make hospitality And share their holy frost-cakes with your children, Wiping their eyes with love: And these war-weary, Glad of our Evergreen, shall take new hope From yon clear star.
(He helps CLAUS to rise and supports him to the foot of the Tree, where he places his pack for CLAUS to recline. The stretcher is borne away. Far off, a long blast sounds.)
BELSHASAR
Hark, hark! What trumpet calls?
MELCHIOR
’Tis Herod’s host. Take heed!
RUTH
God shield us now!
(She turns toward CASPAR, who comforts her and the CHILDREN.)
ELEVENTH ACTION
(The Persecuting Host)
_AISLE I AND AISLE II_
Pouring forth from the Place of Empire, the HOST OF HEROD and their LEADERS, with spears held high, come marching on both pathways toward the Tree, singing in chorus as they march.
[Sidenote: _Tenth Chorus: B,4. Song of the Persecuting Host_]
_CHORUS_
_Go forth, ye host of power!_ _Enslave, enslave the humble!_ _’Fore Herod’s host their hearts shall cower,_ _Their builded hopes shall crumble._ _Yea, Herod’s host_ _Shall trample them most_ _Where they build their shrines of wonder.—_ _Go forth with Vengeance’ war-red ghost,_ _Go forth, go forth in thunder!_
TWELFTH ACTION
(The Morning Stars)
_STAGE A_
Staying his Followers, the CAPTAIN OF THE HOST approaches the THREE KINGS by the Tree.
In his hand he bears the Staff of Herod.
CAPTAIN
Halt here!—Behold them. They are found. Stand forth, ye Kings of East! What make ye So far from Herod’s throne?
MELCHIOR
We journey home.
CAPTAIN
Know ye not Herod’s wrath, what ’tis!— Why brought ye not your tidings back To him? Where is the Manger-Child?
MELCHIOR
We know him not.
BELSHASAR
Our trail we lost. His star is dark.
CASPAR
Nay, shineth yonder!
CAPTAIN
(Staring)
Where shineth?
BELSHASAR
He is old and daft.
MELCHIOR
Hail, Captain of our lord his host! Welcome you are in Herod’s name.—
CLAUS
(Rising painfully)
Nay, curst is he in Herod’s name.— Give back my babe!
CAPTAIN
(Strikes him with his staff.)
Take hence thy life!
(CLAUS falls back motionless. DEATH draws near and bends over him.)
DEATH
Come, Claus: Awake! Thy babe is here.
CLAUS
Friend Death, now raise me up.—Methought Thou hadst been deaf and dumb, but now We speak together.
DEATH
Here I hold Thy little babe.
CLAUS
(Taking the muffled child)
O little babe, Now are we both in Death his arms Safe held from Herod’s wrath. Be glad Thy father was not Herod’s slave.
(In his great cloak DEATH leads him away. RUTH stares after them.)
RUTH
Claus! Claus!—Now Death hath taken him.
CASPAR
Poor woman, do not weep for Claus. Friend Death is kind.
RUTH
Now are we left Alone, and none to shield us.
CASPAR
Yea, A king shall shield ye.
CAPTAIN
King! What king Would shield these Herod’s outcasts?
CASPAR
One That’s old and merry and cracked, and wears This crown of Caspar, king of babes Made fatherless.
MELCHIOR
(To the CAPTAIN, shrewdly)
You hear?
BELSHASAR
He’s mad!
CAPTAIN
Nay, give me sign what manner wise men And kings you are. Make sign, ye three, Now to this staff; for, by its power! All lesser kings who bow them not To Herod’s staff shall lose their crowns. Bow! Bow ye low to Herod, lord of the world!
MELCHIOR
(Bows low to the staff.)
Herod, most High!
CAPTAIN
Thy crown keep safe.
BELSHASAR
(Bows low to the staff.)
Herod, the Mighty!
CAPTAIN
Keep thy crown.
CASPAR
(Remains standing, and smiles.)
Herod, the Poor!
CAPTAIN
What now! How name ye Herod—the poor?
CASPAR
Is he not poor To lose him both my brothers’ crowns, And needs ask alms of me, old Caspar?— Ho, take him this my crown, poor Herod! And this, my sceptre, yea, and this My cloak also, and bid him keep His staff for kings of sadder heart To bow them to. Mine is too merry.— Now, kiddies, come: where be your cakes And frosting?
(Having put off his King’s robe, sceptre and crown, CASPAR now appears in his under-jerkin of red, with long boots, like a Peasant.)
MELCHIOR
(To BELSHASAR)
Mad! Stark gone!
CAPTAIN
(Tossing aside the robe, sceptre and crown, speaks to his Followers.)
Lay-by These tokens, men! Your spears! Your spears! This wise man shall learn wisdom now In Herod’s name.
BELSHASAR
(Interposing)
Forbear! He raves.
(HE and MELCHIOR draw the CAPTAIN momentarily aside.)
RUTH
(To CASPAR)
Alas! How can you help us now And have no kingdom?
CASPAR
Ha, my dears! A joyful heart finds many a job Can earn a kingdom.
(Taking the little BOY and GIRL, one on each knee, he speaks to them and their Mother.)
Cheerly, woman! Thy goodman plied a goodly trade.— Poor Claus he was a pedlar: Ho! A pedlar now will Caspar be, And take thy goodman’s pack and name, And ply his trade of children’s toys By neighbor chimneys, house to house, With jingling bells in winter air; And hearth to hearth the mirth shall spread Around the fire, and yule logs blaze, And apples toast, and stockings spill With candy dolls and popping tricks; And tiptoe boys and girls shall peep To spy the pedlar with his sack, And pay his wage in wonder coin Left on the hearthstone; and through all The evergreen and evergreen, Around the tree of light shall run— With fairy twinklings of His star— The laughter of a Manger Child.
(Rising, he lifts the CHILDREN in his arms.)
Up, kiddies, now, with Pedlar Claus To find His kingdom!
CAPTAIN
(To BELSHASAR, brushing him and MELCHIOR aside)
Nay, no more! He bowed not down, and shall pay dear For Herod’s anger.
CASPAR
(Swinging the Pedlar’s pack upon his back)
Ho, good hearts! Now, Sorrow, come! and Poverty! And you, dear Song, that serve on them! You, Elf and Gnome, and desert beasts! Ye children all, both old and young, Come, gather by this holy Tree And share with Pedlar Claus his pack!
CAPTAIN
(Mocking)
Ho, Claus, the Pedlar-King! Hail Claus!
THE HOST OF HEROD
Hail, Claus, the Pedlar-King! King Claus!
(They crowd toward him; his cap is struck off.)
CAPTAIN
(Raising the cap on a spear)
Lo, Claus, his crown! Behold the crown!
THE HOST
Hail to the crown! The Pedlar’s crown!
CAPTAIN
Ye Spears of Herod, spill him wine! Yea, with his blood anoint him!
(Pointing their spears, the HOST turn to rush upon CASPAR, when suddenly A BLAZE OF LIGHT checks and astounds them: silverly A BLAST OF TRUMPETS sounds; the Evergreen branches burst into bloom of stars, while TREE, as ANGEL, comes forth, holding sheathed a shining Sword, its hasp in a Crown of Holly.)
TREE
Stay! Bow, Host of Herod! Bow ye down And hail our Saint of Evergreen: Hail _Santa_ Claus!
(TREE places the Holly Crown on CASPAR’S head. A BURST OF SLEIGH-BELLS sounds, filling the air with their circlings of silver music.)
THE CHILDREN, FAIRIES AND BEASTS
(Shout with wild joy)
Hail, Santa Claus!
THE CAPTAIN AND THE HOST
(Falling back, murmur in awe)
Hail, Santa Claus!
(Overwhelmed, they bow down. Choirs of shrilly gladness break forth in Chorus, as the jingling sleigh-bells change to PEALING CHIMES.)
[Sidenote: _Eleventh Chorus: A,8 and B,5. Chorus of the Christmas Tree_]
[Sidenote: _Part I. (Chorus A) The Pedlar-King_]
_CHORUS_
_Hail—Santa Claus!_ _Saint of our Evergreen!_ _Hail, dear Pedlar of starry joys!_
_On your own shoulders_ _Now you have lifted_ _All the world’s weariness—_ _Pack of old burdens,_ _Sack of our sorrows:_ _Lifted it, stored anew,_ _Crammed with enchantment,_ _Bursting with merry_ _And magical laughter,_ _Wonder of children—_ _Mirth of our Lord!_ _Hail, dear Pedlar—_ _King of our Evergreen:_ _Santa! Santa!_ _Holly-crown’d saint of us!_ _Hail, eternal_ _Wise man and child!_
(During this Chorus and while it continues, SANTA—with beaming face—opens his great pack and distributes forth gifts to the CHILDREN, the OUTCASTS, and the HOST OF HEROD, who now rise joyfully and press round him. CHORUS now answers CHORUS across the assembled People, the deep voices of the Men’s Chorus (B) now singing in Antiphony.)
[Sidenote: _Part II. (Choruses A and B) The Tree_]
_CHORUS A_
_Who wakened her heart with song for the coming of light?_ _Who harked for the morning stars their singing together?_
[Sidenote: _Antiphonal_]
_CHORUS B_
_The Tree! The Tree!_ _The Evergreen Tree!_ _The light of her heart hath blossomed—_ _Hath bloomed with stars_ _In the places of desert._
_CHORUS A_
_Who nourished a dream in the lone wilderness,_ _Where wild beasts kill one another and weary of killing?_
[Sidenote: _Antiphonal_]
_CHORUS B_
_The Tree! The Tree!_ _The Evergreen Tree!_ _The power of her dream hath blossomed_ _With blinding stars_ _In the hearts of the terrible._
_CHORUS A_
_Herod, lord of the world! Who hath defeated his power?_
[Sidenote: _Antiphonal_]
_CHORUS B_
_A star! A star doth confound him!_
_CHORUS A_
_Herod, sword of the world! Who hath surmounted his cunning?_
[Sidenote: _Antiphonal_]
_CHORUS B_
_A child! A child hath disarmed him!_
_CHORUS A_
_Herod, wrath of the world! What hath o’erthrown his dominion?_
[Sidenote: _Antiphonal_]
_CHORUS B_
_A dream! A dream hath survived him!_
[Sidenote: _Part III. (Choruses A and B) The Child_]
_CHORUS A_
(Appearing in their over-garments of WHITE, look toward the place of HEROD while they sing.)
_Where are ye that through the blindness of the slaughter,_ _Through the terror and the tempest of the night,—_ _Where are ye that bowed you down to a helmet and a crown?_ _Have you seen the Child His stars?_ _Have you heard the morning stars—_ _His stars that sing around the Tree of light?_
_Will you hasten? Will you heed?_ _Will you bind His wounds that bleed?_ _Will you build his works of joy and charity?_ _Are you risen? Do you hark?_ _Are you coming through the dark—_ _Are you coming, are you coming to the Tree?_
_CHORUS B_
(In their over-garments of RED, rise from the place of their singing, and move forward in procession toward the CHORUS IN WHITE.)
_Here are we that knew the blindness of the slaughter,_ _Knew the terror and the tempest of the night:_ _Here are we that bowed us down to a helmet and a crown,_ _But we’ve seen the Child His stars,_ _We have heard the morning stars—_ _His stars that sing around the Tree of light._
_We will hasten! We will heed!_ _We will bind His wounds that bleed;_ _We will build His works of joy and charity._ _We are risen, and we hark!_ _We are coming through the dark—_ _We are coming, we are coming to the Tree!_
(As they approach the Tree, the Singers of CHORUS B lay off their RED over-garments and join the CHORUS IN WHITE. The two CHORUSES now form one.
Joined, in their singing, by the HOST OF HEROD, the OUTCASTS, and by ALL THE ASSEMBLED PEOPLE, they raise their Voices together.)
_ALL_
_Child of God, forgive the blindness and the slaughter!_ _Child of Pity, calm the terror of the night!_ _Yea, and all that bow them down to a helmet and a crown—_ _Let them see, like us, Thy stars!_ _Let them join the morning stars—_ _Thy stars that sing around the Tree of light!_
_Child of Heaven, now we heed!_ _We will bind Thy wounds that bleed;_ _We will build Thy works of joy and charity._ _We are risen in Thy right:_ _We are singing through the night—_ _We are singing, we are singing to the Tree!_
_Alleluia!_ _Amen!_
COMMENTARIES ON THE MASQUE
SUGGESTIONS FOR COMMUNITY PRELUDE AND EPILUDE
I.—PRELUDE
In producing this Masque, different communities will doubtless wish to observe different ways of assembling to prepare and begin its production.
Some, especially those given on a small scale, may need and desire no prelusive form of ceremony, in action, speech or song.
For productions given on a larger scale, however, since a receptive and devotional state of feeling is greatly to be desired for its proper rendering and its impression upon those who witness and take part, it is strongly recommended that some kind of brief, general Song Overture of the people be held just before the Masque begins.
With this need in mind, the suggestions here made by the author are given for whatever service they may render to the desired end.
As Prelude to the production of “The Evergreen Tree,” the following kind of Song Overture and informal Ceremony are suggested for such large-scale types of the Masque’s production as are witnessed and performed by all classes, races, ages and creeds of the community.
After night-fall, on a winter’s evening, let us imagine men, women and children of a town or city gathered together out of doors in a public square or park, or indoors within some level-floored structure, to assemble by the community Christmas Tree, and to join in general singing under a leader.
The Leader will gather the best trained singers at a central place (indicated by the roped-off circle in the Ground Plan on the page opposite), and will start the community singing, or guide its spontaneous beginnings under his leadership.
The trained Chorus will perhaps sing the “Adeste Fidelis,” or “Hark! the Herald Angels Sing,” and the carollers will raise their voices in such old Christmas songs as may best appeal to them. So, perhaps for twenty minutes or half an hour, the singers will hold an informal Overture, in which all the gathered people may have joined.
Meanwhile, or beforehand, the Chorus will have put on their outer garments of red and white (designed according to Mr. Jones’ costume suggestions), and will have divided into their two separate bodies—(1) the mixed voices, Chorus A, and (2) the male choir, Chorus B.
Then the Chorus Leader, or some one appointed by him, when the Masque is almost ready to begin, will rise at the centre—visible above the heads of the Chorus and the people—and will speak to the assemblage, perhaps in his own words, or perhaps—using some portion or all of the speech here given—he will speak substantially as follows:
THE CHORUS LEADER
Neighbors and Friends—we have been singing together: Wherever friends sing together out of their hearts There God sings with them. We believe many different ideas, many differing creeds.— To-night let us forget how we differ: Let us remember only how we believe in one great thing— One Spirit in common—and this is its holy name:
SINGING TOGETHER.
In old, old times, when plays were sung by the people, They built for them altars, sacred places of singing; And before their dramas began, They used to pray there And ask a blessing on the players, on the chorus and the people. And there, on those altars, they wrote the name of their Lord.
Friends, we are gathered here now by an old, old altar: The altar of Song— Song of the people: old, young; happy, sad; rich and poor. We cannot see it with our eyes, But we know it in our hearts; And there we can read what is written—the name of our Lord, Whose hallowed name is called
SINGING TOGETHER.
Now out of our Singing will rise an Acted Pageant To tell an old story newly— The story of a Child. Over yonder, by the Christmas Tree—there is the Wilderness, The Place of Outcasts: Over there—is the Gate of a Palace: the Palace of Herod— Herod, the mighty king in the Bible, His place of Empire; And there—and there—are two Paths, that lead to the Tree.
Now let us sing one more carol, And take our places; Then listen, and watch for a sign, while the Chorus sings: And when all is over—each of us, all together, Let us raise up our hearts and voices to one great Spirit That will make of us all one people: The Spirit whose glorious name is
SINGING TOGETHER.
So concluding, the Chorus Leader and his Assistant Leader will accompany their Choruses (the one—Chorus A, the other—Chorus B) to the places where they sit during the Masque (indicated on the diagram) in front of their respective stages.
As they go to their places, the Choruses will sing the carol “Good King Wencelas.” Then, when all is still, the Masque of “The Evergreen Tree” will commence with the Chorus of the Wilderness.
II.—EPILUDE
At the conclusion of the Masque, it is not advisable that any other formal ceremony should follow.
The participants, the children and the people will naturally be gathering about Santa Claus and partaking of the gifts from his pack, or otherwise sharing in happy festivity.
In order, however, that the Masque shall not end in a general, disordered scattering of the assemblage, it is recommended that those in costume, including the Choruses (now united), shall march in good order to the places of their costuming, or to such other places as the Director of the Masque may designate, singing together stanzas of the Masque hymn—easily learned, in unison, to the appealing music of Arthur Farwell—
“Glory and serenity, Beauty of desire, Bless to-night this holy tree And our candle-fire.”—etc.
THREE MONOGRAPHS
I.—DRAMATIZING COMMUNITY SONG
BY PERCY MACKAYE
The allurement of the communal field in drama is its freshness of opportunity—its infinite potential variety.
Definitions have not yet hedged it; criticism has not yet charted, nor pedagogy catalogued its boundless horizons and creative streams; commercialism has not yet invaded its unstinted harvests, to store and can them for the market, under the labels of middlemen.
So, in approaching this realm of “The Evergreen Tree,” I have felt something of that thrill of discovery which must more often have been felt in earlier days on American soil: a feeling, I think, such as John Muir once told me he experienced when he gazed first, from the top of a great tree, over uncharted miles of the redwood region. Only here I have seemed to look upon the conjoining of a great, structural continent—the Drama—with a primal sea—the tides of Community Song, now carolling in quiet inlets, now choral with tempestuous music from fathomless deeps.
If, then, I were to suggest the nature of this kind of community drama by a topographical line, rather than by a definition of theory, I would do so perhaps by a line such as this:
wherein the rising pyramid would represent an emerging contour of that continent (the Drama), whose base is submerged and fused with those singing tides (Community Music).
So perhaps, as dramatist, I might suggest the coming together of those two realms or “movements” of social art, to which my friend Arthur Farwell refers in his comments, as composer.
Obviously, this coming together implies a new technique of the community dramatist—a technique not for a hollowed amphitheatre (that of the traditional theatre), but for a level assembly place (that of the cathedral): where visually, from a floor thronged with choral communicants, there rises a sharp focal point of dramatic action—a small raised stage, for such few acting characters as are typical of the community dramatic ritual.
So the setting of the Masque takes form according to its nature (as indicated by the Ground Plan opposite page 69, and by the worded description in the front of this volume). And so, as the dramatic architect by his design shapes the conditions for the coöperation of the composer, he shapes also the conditions for the coöperation of the scenic producer—in this case, Robert Edmond Jones, whose fresh and fertile genius becomes in a production as significant for the eye as the creative ardor of Arthur Farwell does for the ear.
In the following pages, each of these representative artists describes briefly his distinctive approach and viewpoint toward the ensemble production. As well as may be in brief space, we hope thus to suggest—for all who read the Masque with a view to its performance on however simple a scale—something of our own feelings for the right creative and interpretive approach to this fresh field, in which we are planning to coöperate personally in at least some one production of “The Evergreen Tree.”
In the pioneering attempt of this Masque, my own purpose is to dramatize community singing—for conditions of our own time, especially in America, during this new, formative period which the world war has begun.
In other lands and ages of folk art, community song has been dramatized, as it can only be dramatized vitally, by artists moved by the spirit of religion; and relics of such forms still survive amongst us in rituals of the churches. But these rituals necessarily have attained their growth—nobly classic at their best, at their worst—dully disintegrated.
Now new forces of an age religiously urgent for democracy demand a re-creation of the forms of folk art, plastic to the living currents of the new time. These currents, though continuous from the past, widen now between strange banks and other horizons; though perennial, they require fresh coördination.
The carol, for instance, and the ballad—old forms of folk art—survive with us only in their archaic appeal. We in America cannot hope or wisely desire to revive them for what they once were—spontaneous expressions of continuous communal life in villages and peasant heaths, for that life has gone from us, not to return. But we can do this—and in so doing, give them new life. We can relate them definitely to a form of art for us still living and indigenous—to the drama, and essentially to that community kind of drama which is but now beginning its renascence of world forms portentous for the future.
So in “The Evergreen Tree,” perhaps for the first time, I have embodied the acted carol and the acted ballad as structural parts of a dramatic unity—a communal dramatic unity, to which the forms of folk music are allied and essential.
Here, then, comes into being a new kind of music drama—far removed from the connotation of opera—a _Song Drama_ of the people. From this, speech will not be absent; but it will necessarily be related to the simplicity of folk song and folk poetry, in being rhythmic and chantable in its cadences—taking on forms of spoken poetry definitely related to the people’s poetry of song.
This Song Drama, too, of its nature—though susceptible of splendid pageantry—will depend, for its dramatic conflict, far less on wills opposed in visual action than on contrasted emotions of song—of choral song, thus bringing again the Chorus back to its rightful place, heard and visible, among the people—as with the Greeks; only now for us it becomes a _double_ Chorus, oppositional in will and definitely divided in two parts (the antiphonal Choruses, A and B, of this Masque, costumed also in visual contrast), until its parts become reconciled in emotion, when—both aurally and visibly—the two unite, as at the end of “The Evergreen Tree.”
This much at least expresses my conception of a new art implied in the present work—not as an _a priori_ theory, nor as a generalization for others—but as the working method which has seemed for me best adapted to perform a definite task in the community field involved.
The theme of the Masque I will only touch upon here to say that, in inventing its legend of Caspar and Claus, I hope I may not wholly miss that unconscious approval, which would be dearer than any other—the belief of the children.
Cornish, N. H., September, 1917.
II.—COMMUNITY MUSIC AND THE COMPOSER
BY ARTHUR FARWELL
The birth of our national self-consciousness in music, from the creative standpoint, occurred less than twenty years ago. Not until the last two decades did the prodigious musical studies of our young people at home and abroad produce composers in sufficient quantity to make American music, its character and potentialities, a national question.
Even so brief a period as this has, however, sufficed to witness a succession of distinct phases in our national musical attitude and achievement, phases so strongly contrasted as to represent radical changes of artistic tendency and almost complete reversals in belief and direction of effort.
The last and greatest of these changes is that one which has withdrawn attention from the composer as an abstract phenomenon, and from fruitless theories of American music, and has centered it upon the immediate service which music can render to the people of our nation. In the long run, the nation cannot go one way and its music another. That the ideal in the spirit of music must sooner or later, in this country, be reconciled to and wedded with the ideal of the spirit of democracy, is an idea which has met with general acceptance only in the last three years, although it has been ardently championed by a few individuals for nearly two decades.
Taking its rise in the compelling necessity of this principle, the “community music” movement has swept the country in the last few years, plunging it anew into violent discussion, annihilating personal theories and products of the musical hot-house, demanding the wholesome and the true—and giving the people expression.
In this movement the composer of the music for “The Evergreen Tree” has been immersed. In the communal dramatic work and ideas of Percy MacKaye, he has recognized a similar development in the art of the theatre. It was inevitable that these two movements should come together and unite their powers in seeking to make a helpful contribution to the quest for a drama—and should it not truly be a music drama?—that shall serve most appropriately the deep need of the American people for expression in such a form.
Anything which may prove to be of worth in my compositions for “The Evergreen Tree,” I owe to the new influx of life which I have received from my contact with the soul of the people, as revealed in the movement which is making us a singing nation.
Cornish, N. H., September, 1917.
III.—DESIGNS FOR “THE EVERGREEN TREE”
BY ROBERT EDMOND JONES
The drawings in this book will prove most helpful if they are thought of merely as notes to be amplified or varied according to the special needs of each community production.
Different communities will develop the main scheme in various ways.
The production indicated here is on a large scale in the open air; but the arrangement of stages and aisles is equally impressive in the smallest church.
Facilities for lighting will vary widely in different communities.
Don’t be discouraged if you haven’t an elaborate electric equipment at your disposal. Think how beautiful the Masque might be, done by candle-light in an old country meetinghouse!
The costumes are extremely simple, and depend largely for their effectiveness on the dignity with which they are worn.
The two _Choruses_ wear surplice-like over-garments, red or white. _Elf_ suggests a butterfly: _Gnome_, a beetle: _Tree_, a Fra Angelico angel. _Wolf_, _Bear_ and _Lion_ wear masks, rudely made, like mummers of the Middle Ages. _Wolf’s_ tail is attached to a belt, which he pulls from side to side.
Nearly all the other costumes consist of a simple, cloak-like undergarment, over which are worn tunics and robes to characterize the Host of Herod, the Shepherds, the Followers of the Three Kings, or the Outcasts. There is nothing realistic in these clothes: they merely _suggest_ the characters, broadly, as if they were made by children for a child’s play. They may be carried out by any dressmaker in inexpensive materials—muslin, cambric, cheesecloth, flannel—keeping always to a few brilliant, flat colors: strong red, strong blue, black and white, gray, and orange.
Make these costumes yourselves: use your own ingenuity in cutting and draping them: wear them with a sense of what each costume means. Then your ceremony will be beautiful.
New York, September, 1917.
_ACTION OF “THE EVERGREEN TREE”_
The Masque is performed in Twelve Actions, taking place as follows:
First Action: Stage A (Chorus; Speech).
Second Action: Aisle I (Carol; Processional).
Third Action: Stage A (Carol; Speech).
Fourth Action: Approaching Space and Steps A; then Stage A (Chorus; Carols; Speech).
Fifth Action: Stage B (Chorus; Speech).
Sixth Action: Stage A (Chorus; Speech).
Seventh Action: Aisle II (Carol; Processional).
Eighth Action: Stage A (Carols; Speech).
Ninth Action: Stage B and Aisle I (Choral Song; Chorus; Processional; Pantomime).
Tenth Action: Stage A (Carol; Speech).
Eleventh Action: Aisle I and Aisle II (Choral Song; Processional).
Twelfth Action: Stage A (Chorus; Speech).
ANNOUNCEMENTS IN REGARD TO THIS MASQUE
THE MUSIC
for the Choruses and Carols of “The Evergreen Tree” has been composed by
ARTHUR FARWELL
and is Published, with the Words of the Same, by
THE JOHN CHURCH COMPANY
39 West 32nd Street, New York City. Price $1.50
THE PRODUCTION
of the Masque can be adapted to any scale of expense, simple or elaborate, and to any practical number of participants, few or many. With a view to assisting any community, army camp, or naval station, to organize and adapt a production to its own local conditions,
“A GUIDE TO ‘THE EVERGREEN TREE,’”
a Series of QUESTIONS AND ANSWERS relating to all phases to the Masque’s production, has been compiled by PERCY J. BURRELL, under sanction of the Author, Composer and Costume Designer, and will be sent, by The John Church Company, on request, free of expense to any one interested.
NO PERFORMANCE WITHOUT PERMISSION first having been obtained, and NO PUBLIC READINGS, where money is charged for admission, can legally be given.
PERMISSION MAY BE OBTAINED to produce this Masque, or to read it in Public, by applying to the Masque Organizer of “The Evergreen Tree,” 39 West 32nd Street, New York (Care The John Church Company), who will be glad to supply further information and to arrange, wherever practicable, for personal conference in regard to productions.