Part 1

OTHER ATLANTIC TEXTS INCLUDE

ATLANTIC CLASSICS, _First Series_ $1.25

ATLANTIC CLASSICS, _Second Series_

_Essays from the Atlantic Monthly_ $1.25

THE ATLANTIC MONTHLY AND ITS MAKERS

_For the class in American literature_ $1.00

ESSAYS AND ESSAY WRITING

_For the composition class_ $1.00

ATLANTIC NARRATIVES, _First Series_

_For college use_ $1.00

ATLANTIC NARRATIVES, _Second Series_

_For secondary schools_ $1.00

ATLANTIC PROSE AND POETRY

_For junior high schools and upper grammar grades_ $1.00

ATLANTIC READING SERIES, each $0.15

THE ATLANTIC MONTHLY PRESS BOSTON

THE LIGHT

An Educational Pageant

_By_ Catherine T. Bryce

_Assistant Superintendent of Schools Cleveland, Ohio_

Boston The Atlantic Monthly Press 1920

Copyright, 1920, by THE ATLANTIC MONTHLY PRESS, Inc.

[_This pageant was prepared for presentation at the Cleveland Convention of the National Education Association, February, 1920._]

PROLOGUE: THE VISION 1

THE FIRST GLIMMER: EXPERIENCE 5

THE SECOND GLIMMER: TRADITION 8

THE THIRD GLIMMER: INVENTION 11

THE FOURTH GLIMMER: TRAINING 15

THE FIFTH GLIMMER: DISCIPLINE 16

THE SIXTH GLIMMER: A FIRST LESSON IN DEMOCRACY 18

THE SEVENTH GLIMMER: THE BOOK 27

THE EIGHTH GLIMMER: FORCE 29

THE NINTH GLIMMER: TRAINING FOR DEMOCRACY 36

THE TENTH GLIMMER: A WARNING 45

THE ELEVENTH GLIMMER: EDUCATION’S DREAM 52

EPILOGUE: THE GLEAM 56

MUSIC

Incidental music may be introduced at appropriate places throughout the pageant. The following suggestions may prove helpful:--

_Glimmer_ I. During a moment’s tableau just before curtain falls: strain of a dirge.

_Glimmer_ II. To accompany girl’s humming.

_Glimmer_ III. Indian music for curtain.

_Glimmer_ IV. Music throughout.

_Glimmer_ V. Martial music.

_Glimmer_ VI. Accompaniment for minstrel.

_Glimmer_ VII. Solemn, followed by patriotic, music during time curtain is raised.

_Glimmer_ IX. Patriotic music as curtain falls.

_Glimmer_ XI. As indicated in the text.

_Final_--Star-Spangled Banner.

PROLOGUE

THE VISION

_Characters_

ANY CITY: a boy.

EDUCATION: a girl, taller than the boy.

ANY CITY _is dressed like a modern business man_. EDUCATION _is dressed in classic robes, hair in loose Grecian knot with gold fillet. She carries a lamp shaped like the old-fashioned one so frequently used to illustrate Education._

ANY CITY _is studying the proposed tax levy for the year. He is seated in an easy chair._

ANY CITY (_impatiently_). H’m. It just can’t be done! It is out of the question to raise so much money by taxation this year. This list of appropriations must be cut. But where? What can be cut without raising a row? (_Looks over the list._) Half a million dollars for a new bridge over the canal at 7th St. There’s a perfectly good bridge at 9th St., and another at 3rd St. But the railroad and marketmen will strike if we don’t build this new bridge. To keep peace, I’ll have to stand by that appropriation. (_Pointing to different items on the paper._) That must not be cut; nor that; nor that; nor that! H’m! Three million dollars for the extension of Grand View Avenue. Really, that’s not necessary. That road is being opened only for the accommodation of some rich men who take advantage of my city opportunities, but live in the suburbs and evade paying any taxes to me. But their financial influence is so great, I dare not cut this appropriation. (_Continues study of list._) No, not that; nor that; nor that! Ha! here is the school appropriation: three and a half million dollars. I hate to do it, but I’ll have to cut here. Of course, it means curtailing the kindergarten, deferring the building of the much needed new elementary school in the 3rd Ward, the abolition of summer schools, the serious handicapping of junior and senior high school work, the overcrowding of classes, and no hope of increase in teachers’ salaries. Oh! I hate to do it! But I must! It’s positively the only place I can cut without bringing about a strike or at least a kick. But--oh--Taxation is Vexation!

_With the paper still in his hand, he leans back in his chair, relaxes as one who has solved a weighty question satisfactorily, and is soon as fast asleep as his neighbors, the other cities of the land._

_Enter_ EDUCATION, _holding her lamp aloft. She glides slowly across the stage to the sleeper and holds her lamp above him. He awakes slowly, stretching his arms, and in so doing drops the paper to the floor._

ANY CITY (_sleepily_). A light! (_Suddenly perceiving_ EDUCATION, _he sits forward in his chair_.) And you! Who are you?

EDUCATION. The bearer of the light.

ANY CITY. What is your name?

EDUCATION. Since the beginning of time I have borne many names. Men have called me Experience, Tradition, Discipline, Invention, Culture, Ambition, Knowledge, Training, Learning, Teaching, Instruction, Development, Information, and many other names, and I answer to all. But I am more commonly called Education.

ANY CITY _starts up, snatches up the tax budget, and holds it behind his back_.

ANY CITY. Why are you here?

EDUCATION. Because I have need of you; and because you have need of me. Here, hold my light for a moment.

ANY CITY _holds the light carefully in both hands, dropping his paper in order to do so. The light grows somewhat dim._

EDUCATION. The light still burns. It does not go out in your keeping. By that symbol, I know that by my light you may still choose the right path, that you may follow the path in confidence, that you may arrive in safety at the journey’s end. Come with me for a while into the shadows, and watch my light glimmering through the ages. Me you shall not always see in person, but wherever my light burns, know that I am surely there. Come.

_As_ EDUCATION _speaks the first “Come,” she takes the lamp from_ ANY CITY _and holds it aloft. At the second word “Come,” she takes his hand and leads him behind the curtain. Before leaving, Any City picks up his paper, which he carries as far from_ EDUCATION _as he can_.

_Curtain is raised._

FIRST GLIMMER: EXPERIENCE

_The light of_ EDUCATION _is hanging above. The background for this and the next two pictures may be the same--a forest scene._

_Characters_

STRONG ARM, the Father FLEET FOOT, the Daughter RASH DARING, the Son

_Costumes_: Flesh-colored tights and skins of animals.

RASH DARING _is writhing on the ground in agony_. FLEET FOOT _runs toward him with water in her cupped hands. On the ground lies some brightly colored fruit._

FLEET FOOT. Here, my brother, drink the pure water. It may allay your suffering. Oh, that ye had heeded my words, my brother!

_She kneels beside_ RASH DARING, _and tries to force him to drink. Then smooths his brow with her moistened fingers. Suddenly_ RASH DARING’S _body jerks spasmodically; then is still_.

FLEET FOOT (_seizing his hands in terror_). Look at me! Speak to me, my brother! (_Cries aloud._) O father! father!

STRONG ARM _rushes in, takes in picture at a glance, and kneeling beside_ FLEET FOOT, _examines the body of the boy_.

FLEET FOOT. What shall I do, father? Shall I fetch more water?

STRONG ARM. Nay, little daughter. There is nothing to be done. Your brother is dead.

FLEET FOOT _throws herself down, weeping bitterly_. STRONG ARM _touches her head gently with his hand_.

STRONG ARM. Tears are but idle. Sit up, my daughter, and tell me what caused the death of my son.

FLEET FOOT (_controlling herself by a great effort_). Far away in the forest we found a small tree covered with beautiful fruit. See, father, there is some of it at your feet. (STRONG ARM _picks up a fruit and examines it, while_ FLEET FOOT _continues her story_.) Rash Daring wanted to eat some of the fruit as soon as we found it; but I persuaded him to gather it and carry it home for you to see, for I feared it was poisonous because, with many monkeys in the neighboring trees, not one fruit on the small tree had been bitten or plucked. On our way home I ran ahead of my brother. Suddenly he cried aloud. I hastened back and found him lying on the ground in great pain. He told me that he had eaten some of the fruit and suffered greatly. I ran to the brook for water, but he could not drink it. Then I called you.

STRONG ARM. Yes, the fruit is poison. Would that we could purchase our experience at a smaller cost! O my son! my son!

_As_ STRONG ARM _speaks the sentence, “Would that we could purchase,” etc., the light burns brightly_.

CURTAIN

_As the curtain falls_, EDUCATION, _bearing her lamp and leading_ ANY CITY, _steps before it_.

ANY CITY. But, Education, I do not understand! Your light burned aloft; but there was no school!

EDUCATION. No school? You have visited the hardest school in the world, the school ruled by the sternest teacher in the world--the School of Experience. Fortunate are they who learn from the experience of the past and the experience of others.

_As_ EDUCATION _speaks, her light is cast for a moment on the tax paper_. ANY CITY _glances at the paper and tries to conceal it. With a beckoning gesture_ EDUCATION _leads him again behind the curtain_.

SECOND GLIMMER: TRADITION

_Characters_

OLD WOMAN, and several maidens

_They are seated in an almost closed circle, each grinding grain between two flat stones. Above them hangs the light. They are dressed in Oriental costume, the bright colors of which serve as a background to the gray stones. They grind with a rhythmic movement, humming a monotonous tune. Gradually one of the maidens stops and gazes dreamily toward the light._

OLD WOMAN. Get thee to thy work, maiden. Thinkst thou idle fingers and dreaming eyes will grind the corn?

MAIDEN (_with hand on upper stone as if ready to resume work, but with eyes toward the light, which glows brighter as she speaks_). I was but wondering if there be not some better way to grind the corn.

OLD WOMAN. Better way to grind the corn, she says! She means easier way--an easier way for her own idle self! Shame upon thee, thou lazy maiden! Shame upon thee, thou presumptuous maiden! Thinkst thou that in thy foolish mind lies the wisdom of the earth? Had there been a better way, would not our fathers, the wise men of the land, have discovered that way and handed it down to us? Have not the women of our country from generation to generation ground their corn in this way? If this way were good enough for them, it is good enough for us! Thinkst thou that thou art better or wiser than they? I have no patience with thy dreams, born of thine own laziness! Get to work, maiden, and let me hear no more of thy better ways! Better ways, forsooth!

_While the_ OLD WOMAN _speaks, the light burns dimmer. The other maidens stop their work to listen, all showing their approval of her words, and their condemnation of her who dared to dream of better things. As the_ OLD WOMAN _finishes, they resume their task and their monotonous tune_.

CURTAIN

EDUCATION _and_ ANY CITY _appear before the curtain_.

ANY CITY. Good for the Old Woman! I believe in sticking to old well-tried things. So many people believe that just because a thing is new, it is the only good thing in the world.

EDUCATION. But a greater number believe that just because a thing is old, it is sacredly all sufficient. If everybody had thought with you and the Old Woman, how would the world be fed to-day? Think you those primitive stone-grinders rival the great flour mills of the present day? How many hand-mills think you would be necessary to grind the wheat of our vast plains?

ANY CITY. Of course, I don’t mean that I want things as they were long ago. But there are some people who are never satisfied. They are continually wanting things different.

EDUCATION. No, you don’t want things to remain as they _were_. You want them to stay as they _are_. That is all the Old Woman wanted in her time. She didn’t want to go back to the earliest days when the grain was ground only by the teeth of the consumer. Had everyone followed blindly the tradition of his own time, we should still be at the very beginning. Look you to the justly dissatisfied man for all that has made for progress in the world. Saw you not how my light brightened at the words of the maiden? Remember that, far as we have journeyed in the past, so far and perhaps still farther lies the way of the future along the Highway of Progress. _Be not you bound too tightly by the bonds of old tradition._

_As_ EDUCATION _speaks the last sentence, her light plays for a moment on_ ANY CITY’S _paper. With a guilty air he tries to conceal it, as he follows_ EDUCATION _behind the curtain_.

THIRD GLIMMER: INVENTION

_Characters_

HIAWATHA and a group of Indians

_A deerskin with picture-writing on it (see text below) is in the centre of the background. Over the writing burns the light._ HIAWATHA _stands before the deerskin instructing his people, who are grouped about him. During his lesson they show signs of eager approval._[1]

HIAWATHA.

Lo, how all things fade and perish! From the memory of the old men Pass away the great traditions, The achievements of the warriors, The adventures of the hunters, All the wisdom of the Medas, All the craft of the Wabenos, All the marvelous dreams and visions Of the Jossakeeds, the Prophets. Great men die and are forgotten, Wise men speak; their words of wisdom Perish in the ears that hear them, Do not reach the generations That, as yet unborn, are waiting In the great, mysterious darkness Of the speechless days that shall be. On the grave-posts of our fathers Are no signs, no figures painted; Who are in these graves we know not, Only know they are our fathers. Face to face we speak together, But we cannot speak when absent, Cannot send our voices from us To the friends that dwell afar off.

_Turns to deerskin, and points with an arrow to different symbols, as he names them._

On the white skin of the reindeer I have painted shapes and figures, Wonderful and mystic figures, And each figure has a meaning, Each some word or thought suggesteth. Gitche Manito, the Mighty, He, the Master of Life, I’ve painted As an egg, with points projecting To the four winds of the heavens. Everywhere is the Great Spirit, Is the meaning of this symbol. Mitche Manito, the Mighty, He, the dreadful Spirit of Evil, As a serpent I’ve depicted. Very crafty, very cunning, Is the creeping Spirit of Evil, Is the meaning of this symbol. Life and Death I draw as circles; Life is white, but Death is darkened. For the earth I draw a straight line, For the sky a bow above it; White the space between for daytime, Filled with little stars for night-time; On the left a point for sunrise, On the top a point for noontide, And for rain and cloudy weather Waving lines descending from it. Footprints pointing toward a wigwam Are a sign of invitation, Are a sign of guests assembling. Thus, my people, I would teach you All the mysteries of painting, All the art of Picture-Writing. Go ye then and mark your grave-posts Each one with its household symbol. And the Jossakeeds, the Prophets, The Wabenos, the Magicians, And the Medicine-Men, the Medas, Paint upon the bark and deerskin Figures for the songs ye chant us For each song a separate symbol, Figures mystical and awful, Figures strange and brightly colored; Let each figure have its meaning. Thus shall live the great traditions, The achievements of the warriors, The adventures of the hunters, All the wisdom of the wise men, All the craft of the magicians, All the visions of the prophets.

CURTAIN

_As_ EDUCATION _and_ ANY CITY _appear before the curtain, Any City is protesting in sputtering confusion_.

ANY CITY. But--but--I--I can’t for the life of me understand why your light burned so brightly over those crude drawings!

EDUCATION. Crude they were, I grant, but they meant much to me. Through them was passed on the results of my work for ages--all that I had taught the people through experience and tradition, all that they had achieved, their strivings, their conquests, their beliefs, and their dreams. Invention, originality, self-expression, call it what you will, is the gateway to Progress. Honor to the man who is not bound by old precedent, who is not swayed by might or favor, who establishes a new procedure based on right and justice. (_Light directed to paper._)

ANY CITY (_in confusion, as he conceals paper_). I thought that Education is training and discipline!

EDUCATION. Those are two of my attributes. Come with me and you shall see some early lessons in training and discipline.

EDUCATION _and_ ANY CITY _withdraw from before the curtain_.

Footnotes:

[1] The following has been adapted slightly from _Hiawatha_.

FOURTH GLIMMER: TRAINING

_Young men and maidens in ancient Greek costume at exercises for the training of the body. The lamp hangs above._

I. Maidens playing with a golden ball (to music).

II. Young men throwing discus.

III. Dance.

_Curtain lowered for one minute._

FIFTH GLIMMER: DISCIPLINE

_As the curtain is raised, boys representing Roman soldiers march in. Under the command of their leader, they go through some military evolutions. At last the order corresponding to our “Attention!” is given. Every man stands like a statue._

_A_ MESSENGER, _wildly excited, rushes in from right of stage_.

MESSENGER. Fire! The whole city burns! Your homes and all that you hold dear are in danger!

_Rushes off at left._

_During the alarm not one man moves. Not a quiver betrays their feelings. Officer gives command and leads them off at double-quick toward fire at right._

CURTAIN

EDUCATION _and_ ANY CITY _appear before the curtain_.

ANY CITY. Magnificent! Now I know the source of that “Glory that was Greece,” and that “Grandeur that was Rome!” Surely never since those olden days have you seen such grace of body, such discipline of mind!

EDUCATION. Yes, I have seen little children at play who were as graceful as any trained dancer of old Greece; and have you forgotten our American lads that went down on the Tuscania? Surely the discipline and courage of those untried boys, who met death with a song on their lips, were equal even to that of the trained and tried legions of Imperial Rome.

ANY CITY. But surely you do not deprecate such training and such discipline?

EDUCATION. Nay, far from it! It is only when such training and discipline are given but to certain classes that I tremble. Come with me and I will show you how the trained, the selected classes had power over their brother men until--But wait; you shall see for yourself. Come.

_Exit_ EDUCATION _and_ ANY CITY.

SIXTH GLIMMER: A FIRST LESSON IN DEMOCRACY

_A room in a feudal castle in England._ _A_ MAN _and a_ MAIDEN _dressed as servants of the time (1215) are standing near an open casket. The_ MAN _holds an illuminated book in his hand. The_ MAIDEN _is peering over his shoulder at the beautiful decorations. At her feet lies her distaff. The light burns dimly above. Some humble stools, and two high-backed chairs covered with gorgeous tapestry are the only furnishings._

MAIDEN. _Oh, how lovely! I could look at the gay colors for years and never tire!_

MAN. And I would give years of my life if I could but read the writing in the book.

MAIDEN (_clutching his arm in terror_). Oh, say not so! The very walls have ears! If it were known that thou didst entertain an ambition so high above thy station, it would mean, at least, the stocks.

MAN. I care not. Why should this book and all the learning of the sages be closed to me because I was born in a hovel, and opened to my master just because he chanced to be born in a castle? I tell thee it is not fair! I--

_Enter the_ LADY EDYTH. _The_ MAIDEN, _who first sees her, covers the_ MAN’S _mouth with her hand, so staying him and preventing the_ LADY EDYTH’S _hearing his words. She, however, sees the open casket, and the precious book in the hands of the servant, and sweeps angrily forward._

LADY EDYTH. How now, sirrah; what dost thou with the precious book?

MAN (_humbly_). I but looked at it, my lady.

LADY EDYTH (_snatching it from his hand_). Thou “but looked at it”! Thinkst thou such a book was made for a boor like thee to look at, let alone to handle with thy great rude hands? How durst thou even open the casket? I have a mind to have thee flogged.

MAIDEN (_falling on her knees_). Nay, my lady, spare him, I pray thee! The fault is wholly mine. I opened the casket. I placed the book in his hands. I--

MAN (_stepping forward_). Say not another word. Thou shalt not sacrifice thyself for me. Heed her not, my lady. I alone am to blame.

LADY EDYTH _looks from one to the other and her face softens. She replaces the book in the casket. Then turns again to the servants._

LADY EDYTH. Methinks ye are both to blame; an’ ye transgress again, I shall see that proper punishment is meted out to both. Pick up thy distaff, wench, and get thee to thy spinning. (_A knock at the door is heard._) And thou, sirrah, open the door.

_The_ MAIDEN _picks up her distaff and, seating herself on one of the stools, begins to spin_. LADY EDYTH, _with one hand on the casket, stands looking toward the door as the_ MAN _opens it and admits_ BARON OLDITCH, _a gentleman of the times, splendidly attired. Following the_ BARON _comes a_ MINSTREL, _dressed in the garb of his profession. In his belt is thrust a scroll. Across his shoulder is slung his instrument--a mandolin, harp, or any stringed instrument common to the times._

LADY EDYTH (_extending her hand_). Thou art doubly welcome, baron: I looked for no guest this stormy morning, and I am weary of mine own company.

BARON (_bending over_ LADY EDYTH’S _hand_). In thy gentle presence, I heed not the rude blasts of the storm; in the light of thine eyes, I know not, nor care, whether the sun be shining in full glory or hidden behind a cloud. As for thy weariness, I can speedily dispel it. I have brought with me a minstrel, with a new ballad that has set the whole town of London agog. If thou wilt be seated, he will begin his lay without further ado.

LADY EDYTH _graciously bows, and the_ BARON _leads her with great ceremony to her chair. The_ MAIDEN _steps quickly forward to place a footstool under her mistress’s feet. The smiling_ BARON _bends again over_ LADY EDYTH’S _hand and takes a step backward. In doing so he treads on the_ MAIDEN’S _distaff, which she has dropped, and nearly loses his balance. The smile leaves his face. In a rage he kicks the distaff away toward the_ MINSTREL.

BARON. Out of my way, clumsy stupid wench!