December, 1919 
21 
The wonder of the shepherds on first seeing the star is an im pressive point in the miracle 
play. They follow the star to the merry tune of a pipe that one of them blows 
sible. Altar candles and incense should be 
ordered out from the city, weeks before 
Huge candlesticks and a prie-dieu can 
generally be borrowed. Some accessories, 
such as wigs and beards, leather tunics, 
animal skins, sandals, Gabriel’s wings, 
the shepherds’ crooks, and the kings’ 
crowns had better come from a theatrical 
costumer. Gabriel’s long golden trumpet 
can be made at home, as can the man¬ 
ger and the halos. 
The Setting 
At eleven, Christmas eve, all is in readi¬ 
ness. The high mantel in the auditorium 
end of the room is massed with holly and 
cedar, and against this background, tall, 
lighted candles rear themselves. A low 
fire burns on the hearth. Dull brass bowls 
for incense have been placed at each side 
of the improvised stage, and a lovely silk 
curtain hangs in straight folds across the 
opening. Cedar boughs bank the front of 
the platform, and chairs stand expectantly 
in orderly rows. The rest of the furniture 
has been pushed back into the shadows 
of the dimly lighted room. Neighbors 
and friends will arrive, seemingly touched 
with the slight formality the unusual 
demands. The great room, lighted very 
softly with myriads of candles, the stirring air, 
warm and scented from the burning cedar logs, 
and the pungent odor of the fresh-cut branches, 
will present the very spirit of Christmas. 
There will be a moment of hushed antici¬ 
pation when two vested boys enter slowly and 
light the incense in the bowls 
at each side of the stage. The 
gray smoke trails upward in 
wisps, and a faint suggestion 
of the Orient pervades the 
room. The boys stand silently 
beside the fireplace, long- 
handled snuffers in readiness. 
Slowly and solemnly, a deep 
bell sounds, breaking the mo¬ 
ment of tension, and the boys 
move about, swiftly snuffing 
out the candles, tall and short, 
until the room pulses in dark¬ 
ness, save for a small green 
point of light near the piano 
and the faint flickering glow 
on the hearth. 
As the last of the twelve 
strokes sounds, the boys with¬ 
draw and, with a soft silken 
swish, the curtains part. 
There is a moment of silence, 
and then, ever so gently, the 
music of the piano, harp and 
’cello begins. 
Gabriel, robed in white, appears in a flood light against the 
limitless blue of a faintly lighted night sky, simulated by 
the blue back drop 
speaks the very lovely and impressive lines 
beginning, 
“I come here upon this ground 
To comfort every creature of birth; 
For I, Isaiah the prophet, have found 
Many sweet matters whereof we may make mirth 
On this same wise, . . .” 
Gabriel’s Annunciation 
Between the parted cur¬ 
tains a darkened stage shows, 
only faintly, hangings in long 
sweeping folds and the spring¬ 
ing curve of arches on a col¬ 
onnade, raised three steps 
from the fore stage. Softly 
and afar sounds the “Gloria 
in Excelsis,” and out of the 
shadows, passing between the 
arches, the white-robed figure 
of Isaiah is visible. He ad¬ 
vances slowly, staff in hand, 
and Ezekiel, robed in black, 
enters also and stands at the 
foot of the steps, while Isaiah 
They take their positions against the 
proscenium arch, facing the audience, and 
remain with bowed heads, motionless, dur¬ 
ing the presentation. Gradually, a glow 
of light appears in the center arch, and 
out of the formless dark, a radiant white 
figure is revealed, until Gabriel stands, 
vivid against the limitless blue of a faintly 
lighted night sky. He raises his long, slen¬ 
der, golden trumpet to his lips. As the 
sustained sweet note dies clearly away, 
the long, gray folds to the right of the arch 
part and disclose a softly illuminated 
niche in which kneels the figure of the 
Virgin. Her beautiful, calm face is bowed 
over folded hands. Rose and old blue are 
her draperies, with touches of gold at the 
throat, and an open golden halo circles 
the veil over her meek head. At the first 
words, 
“Hail Mary, full of grace, 
Our Lord God is with thee. 
Above all women that ever was, 
Lady, blessed may thou be; 
Dread thee nothing, maiden, at this. 
From Heaven above, hither I am sent, 
Of embassage of that King of Bliss, 
Unto thee, Lady, in virgin reverence; 
Saluting thee here as most excellent, 
Whose virtue above all others, doth 
abound: . . .” 
she turns towards the angel, her Fra Angelico 
hands upraised in awe, her rapt gaze speaking 
her wonderment as she lifts timid eyes to the 
vision, flooded in clear white light, seemingly 
too beautiful to be real, too dazzling for mortal 
eyes to bear the sight. Rising before the An¬ 
nunciation, she drops slowly 
to her knees, her hands folded 
on her bosom until Gabriel’s 
last words to her, 
“Now, farewell lady of might 
most, 
Unto the Godhead I thee com¬ 
mit,” 
when the light fades and 
Mary’s curtain falls on her 
humbly prostrated. 
Where Shepherds Watched 
There is an interval of mu¬ 
sic, and, faintly, the illumi¬ 
nated, deep night sky shows 
through the arches, then far 
away. The sound of pipes 
and the shepherds’ song comes 
gradually nearer. The first 
shepherd, a mere boy, in short 
brown tunic of tanned leather 
skins, appears, lustily piping, 
and stops near the center 
arch, peering about him off 
into the distance, “Hulloow- 
ing” anxiously. 
“Now God that art in Trinity, 
I know not where my sheep ’e 
nor they be. 
The night is cold; 
Now it is night the middest of 
the night, 
These weathers are dark and 
dim of light! 
What ho, fellows, bo, hullo ho I” 
Afar comes an answering 
voice, and presently enter two 
other shepherds. The 
younger, garbed in a red cloth 
tunic and skins, with leather 
leggings bound with thongs, 
carries a crook, and the elder 
(i Continued on page 62) 
