PLAYS AND PAGEANTS
STORY OF THE PAGEANT,
“THE GATE OF DAWN”
(Arranged by Mrs. Harold Bowditch with suggestions by Mr. Kenneth Christian and presented with the assistance of a large committee in Green Acre, Maine, in the summer of 1934.)
BY NANCY BOWDITCH
THE summer of 1934 marked the beginning of a new activity among the Bahá’ís of the United States and Canada. A new group called "The Green Acre Committee for Plays and Pageants” was formed whose purpose was to develop a means of presenting the Bahá’í Teachings through some form of dramatics, particularly in representing scenes from the early history of the Faith. This undertaking was the outcome of the enthusiasm raised in the hearts of some of the devoted believers in the Revelation who were assisted by a number of generous and interested friends who, though in some cases not listed among the ranks of the believers, lent most valuable assistance. After consultation it was decided that to present a series of tableaux would be the most practical, as well as the most dignified way to begin the work, and the Green Acre Summer School in Eliot, Maine, was selected as the best place. Through the generosity of the National Spiritual Assembly, the studio of Mrs. Mary Lucas was secured for the work. Mrs. Lucas was one of the first women pilgrims to visit ‘Abdu’l-Bahá in the “Most Great Prison” in ‘Akká, Palestine, and thus her home was converted into a busy workshop where members of the Summer School as well as the Committee worked together in arranging for the pageant and tableaux.
In the beginning the Committee felt great responsibility in undertaking a work that presented such possibilities, but they dedicated their services with love for the universal principles of World Unity and human fellowship which the Faith of Bahá’u’lláh reveals, so after the reading of prayer and of the sacred writings of Bahá’u’lláh and ‘Abdu’l-Bahá. they embarked upon this important enterprise. Great credit is due to the membership of the Committee as well as to Mr. Randolph Bolles, Mr. Sutherland Maxwell, Dr. Ambrose of Washington, D. C., Mrs. E. N. Jones (who though not a declared Bahá’í made a special trip from Washington in order to assist), and to Mr. Max Miller who trained the choruses and who wrote a special song called “The Valley of Search” especially for the occasion. An interesting lecture given at Green Acre by Ali-Kuli Khan on the significance of colors in the art of Írán proved the inspiration upon which the costumes for the "Attributes” and others were designed. This first effort resulted in the presentation of tableaux from “The Dawn-Breakers” with prologue and epilogue of pageantry and music and reading of the Holy Words. The following is a brief description of the way in which the tableaux were presented. A small stage was erected at the end of the auditorium in the Inn. Across the proscenium arch were stretched two layers of gauze netting which were attached to a square framework. This frame was lighted at the top, bottom and sides and created the illusion of a large painting. Color filters were made by stretching colored paper over a light framework of wood. These were in sets of different colors, so
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Plan of Bahá’u’lláh’s House
in Baghdád, ‘Iráq.
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that the general lighting
of the stage could
represent early morning or noon or sunset
as required, and were changed for each
scene.
In front of the center of the stage a small dais was placed which was "top-lighted” by a “spot” suspended in the beams of the room. After the audience was assembled all the lights in the hall were extinguished with the exception of this "spotlight,” then the soft strains of violin and piano were heard. At this point there came slowly from the back of the auditorium two angels, one a small girl with white wings, dressed in soft pink draperies and carrying in her hand a three-branched lighted candle. Behind her came the angel Gabriel clad entirely in white with wings, holding in his hands a large illuminated book. A few paces behind the angel came a poet of Írán. When they reached the dais the angel stepped upon it, having the poet on one hand and the small angel on the other.
Leaning forward the Angel Gabriel held out the book to the poet (the music muted so that the speaking voices became clearly audible), at the same time repeating these verses from the “Hidden Words” of Bahá’u’lláh:
“This is that which hath descended from the realm of glory, uttered by the tongue of power and might, and revealed unto the Prophets of old. We have taken the inner essence thereof and clothed it in the garment of brevity as a token of grace unto the righteous, that they may stand faithful unto the Covenant of God, may fulfil in their lives His trust, and in the realm of spirit obtain the gem of Divine Virtue.”
The poet, raising his face to Gabriel, held out his hands for the book saying:
"O God! my God! Thy call has attracted me and the Voice of Thy Pen of Glory has awakened me; the stream of Thy Holy Utterances has enraptured me, and the Wine of Thy Inspiration entranced me."
"Thou seest me, O Lord, detached from all things but Thee, clinging to the cord of Thy Bounty and craving the wonders of Thy Grace. . . .”
Then taking the book from the Angel Gabriel he repeats:
“O my God, strengthen my hands to take Thy Book with such steadfastness that the hosts of the world shall not prevent them. Then protect them, O my Lord, from disposing of anything not owned by them. Verily, Thou art the Powerful, the Mighty!”
Then the Angel speaks:
“The Sun of Truth is the Word of God upon which depends the training of the people of the country of thought. It is the Spirit of Reality and the Water of Life. All things owe their existence to It. Its manifestation is ever according to the capacity and coloring of the mirror through which it may reflect. For example, Its Light, when cast on the mirrors of the wise, gives expression to wisdom; when reflected from the minds of artists It produces manifestations of new and beautiful arts; when It shines through the minds of students It reveals knowledge and unfolds mysteries. . . . All the good names and lofty qualities are of the Word. . . . This is the Water which giveth life to all things. . . .”
The poet answers:
“We beg of God that we may partake of this Life—Giving Water of Heaven, and quaff from the spiritual chalice of rest, and thus be free from all that tends to withhold us from approaching His Love.
“Glory be upon the people of Glory!”
Now the music becomes louder, the two angels continue slowly through the hall and exit. The poet withdraws to one side of the stage and places his book on the reading stand. Meantime a procession of some of the “Attributes” of God—Sovereignty, Loftiness, Love, Glory, Death and Life—form at the back of the hall and move slowly forward, each very far apart, so that only one at a time is in view of the audience.
Love enters garbed in long robes of pink and rose colors, carrying in her arms a spray of roses. She mounts the dais and, turning toward the audience repeats from the “Hidden Words”—
“O Friend! In the garden of the heart plant naught but the rose of love, and from the nightingale of affection and desire loosen not thy hold. Treasure the companionship of the righteous and eschew all fellowship of the ungodly.”
“O Son of Love! Thou art but one step
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away from the glorious
heights above and
from the celestrial tree of love. Take thou
one pace, and with the next advance into
the immortal realm and enter the pavilion
of eternity. Give ear then to that which
hath been revealed by the Pen of Glory!”
After Love has left the room, each of the others in turn, on reaching the dais, step up, and facing the audience, recite further from the “Hidden Words.”
When the "Attributes” have made their exit, the poet opens his book and begins to read:
“O my friends! I shall your ears delight with the wondrous tale of the Day wherein you live. History, in destiny’s wind again is stirred, once more the clarion of dawn comes to rejoice the hearts of men; two stars first caught its Light;—an aged man, a Shaykh of ‘Arabi, arose and called men to prepare for the advent of that Promised One Whose Name for a thousand years they had invoked. King and peasant of Írán did he stir and at length, nearing his journey’s end, he passed on the leader’s torch to Siyyíd Káẓim. In these words he bade him carry on:
“You have no time to lose. Every fleeting hour should be fully and wisely utilized. You should gird up the loins of endeavor and strive day and night to rend asunder, by the Grace of God, and by the hand of wisdom and loving-kindness, those veils of heedlessness that have blinded the eyes of men. For verily I say, the Hour is drawing nigh, the Hour I have besought God to spare me from witnessing, for the earthquake of the Last Hour will be tremendous!
"You should pray to God to be spared the overpowering trials of that Day, for neither of us is capable of withstanding its sweeping force! Others of greater endurance and power have been destined to bear this stupendous weight; men whose hearts are sanctified from all earthly things, and whose strength is reënforced by the potency of His Power!” (Nabil’s Narrative, page 16.)
At the closing of this reading of the poet the curtains of the stage are parted disclosing a living picture of Shaykh Aḥmád-i-Ahsá’í seated cross-legged on the floor with his pupil, Siyyíd Káẓim near him, attentively receiving his instructions. The curtains are lowered and then drawn aside again, to show the picture twice. When the curtains are lowered the last time the poet begins to read from the book the rest of the story which is here given briefly—
He tells how the fire of Belief and Faith spread rapidly throughout the dark land of Írán and how a New Dawn is spreading its light over all the country. One day when Siyyíd Káẓim was teaching his pupils beneath the shade of a palm tree there appeared to him a shepherd who came to tell of a dream that he had had. He dreamed that he saw the Prophet Muḥammad who told him that he would find the Siyyíd in the vicinity of the mosque in the shade of this tree, and that he was to give him the following message:
“Rejoice, for the hour of your departure is at hand. When you shall have performed your visits in Káẓimayn and shall have returned to Karbilá, there, three days after your return, on the day of ‘Arafih, you will wing your flight to Me. Soon after shall He, Who is the Truth, be made manifest. Then shall the world be illuminated by the light of His Face.” (Nabil’s Narrative, page 44.)
Again the curtains are drawn aside and a scene of the shepherd kneeling before Siyyíd Káẓim is shown.
The poet reads on. He reads of the death of Siyyíd Káẓim and how one remained of his disciples, a youth, one Mullá Ḥusayn, who was mindful of his teacher’s words. He had told him to detach himself from earthly things and to seek with determination and prayer his true Guide and Master.
Mullá Ḥusayn traveled from city to city until finally, on the outskirts of the city of Shíráz he met a radiant Youth Who took him home and entertained him. There he sat all night enraptured by the words of his Host, in a room filled with fragrant blossoms, whilst fruits and delicious drink were served to him by an Ethiopian servant. He was made so happy that he put his feelings into these words:
“Methinks I was in a place of which it
can be truly said—‘Therein no toil shall
reach us, and therein no weariness shall
touch us; no vain discourse shall they hear
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therein, nor any falsehood,
but only the
cry;-—"Peace! Peace!”’ Then his Host
addressed him saying:
“ ‘O thou who art first to believe in Me! Verily, I say, I am the Báb—the Gate of God, and thou art the Báb’u’l-Báb, the Gate of the Gate. Eighteen souls must, in the beginning, spontaneously and of their own accord, accept Me and recognize the Truth of My Revelation. Unwarned and uninvited, each of these must seek independently to find Me.’ ”
From this state of ecstasy Mullá Ḥusayn was awakened by the voice of the priest calling the people to early morning prayer.
(At this point appears a tableau of Mullá Ḥusayn showing the fruit being offered to him by the servant. A pink light is diffused over the scene and vases of flowers are set on the floor in different places.)
The next scene is the public punishment of Quddús and Mullá Sádiq, the two first victims of the enemies of the New Revelation. Mullá Sádiq says of this punishment:
“The first seven strokes were severely painful, to the rest I seemed to have grown indifferent. I was wondering whether the strokes that followed were being actually applied to my own body. A feeling of joyous exaltation had invaded my soul. I was trying to repress my feelings and to restrain my laughter. I can now realize how the Almighty Dcliverer is able, in the twinkling of an eye, to turn pain into ease and sorrow into gladness. . . .” (Nabil’s Narrative, page 148.)
The next picture is that of Táhirih, that great woman disciple, casting off her veil in the presence of Quddús, the famed Bábí, defender of the Faith. This took place at the conference of Badasht. These were her words in part:
“This is the Day of festivity and universal rejoicing, the Day on which the fetters of the past are burst asunder! Let those who have shared in this great achievement arise and embrace each other!”
The next picture represents that scene in the Caravanserai where three hundred youths had banded together in defense of their Faith, led by Mullá Ḥusayn. When it became time for evening prayer volunteers were called for to ascend and give the call to prayer. The first youth who ascended to the roof had no sooner proclaimed the opening “God is the Most Great” when a bullet from the enemy shot him down. Immediately a second youth ascended, taking up the prayer where the first left off, only to be stricken down as his predecessor. In this way the prayer was continued until the end, each youth cheerfully offering himself in the place of the one gone before. When the curtain is lifted upon this scene the third youth is revealed continuing the prayer with the first two lying dead at his feet.
These six scenes will serve to show how the tableaux were presented. A brief outline of the rest follows:
Scene seven represents the little Sifter of Wheat, who, hurrying away from the market-place with his sieve in his hand, answered those who called after him inquiring where he was going so hurriedly, “I have arisen to join the glorious company of the Defenders of the Shaykh—Tabarsi.” Out of that great city of Iṣfahán only one person went forth to find the Light of the New Day—a humble sifter of wheat!
Scene eight represents the farewell of Quddús and Mullá Ḥusayn. This event occurred just before one of the great defenses of Fort Tabarsi when they had been holding the army of the Sháh at bay for eleven months.
Scene nine shows Mírzá Qurbán-‘Ali bending over, pleading with the executioner, while his arms are about the body of the first glorious martyr who was the uncle of the Báb. His words were: “Approach and strike your blow, for my faithful companion is unwilling to release himself from my embrace and calls me to hasten together with him to the court of the Well-Beloved!”
Scene ten shows the valiant girl soldier, Zaynab, who, not being able to witness the sufferings of her companions in the fortress of Zanján, begged to be allowed to have a sword and dress in men’s clothing. This brave “Jeanne d’Arc” is shown mounting the battlements sword in hand.
Scene eleven shows the bride and groom who were married during one of the great
Facsimile of Autograph Letter addressed by Prof. E. G. Browne to ‘Abdu’l-Bahá, dated Sept. 11, 1890
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sieges of Fort Tabarsi.
They are being torn from each other’s
arms as the cry of
“Ya Sḥibu’z-Zamán” (O Lord of the
Ages!) summons the bridegroom to the
defense of the Faith. While a soldier
is leading the bridegroom away a
friend of the bride is trying to console her.
Scene twelve shows Táhirih, arrayed in purest white, handing a green kerchief to the boy who has escorted her, in order that he may hand it to the executioner who is to strangle her.
The last scene shows the “Attributes of God” re-entering the hall and forming themselves in two groups, one on each side of the stage. The curtains part disclosing an angel with great white wings who recites the farewell message of the Glorious Báb to His disciples which begins:
“O my beloved friends! You are the bearers of the Name of God in this Day! You have been chosen as the repositories of His mystery. It behooves each one of you to manifest the attributes of God and to exemplify by your deeds and words the signs of His righteousness, His power and glory. The very members of your body must bear witness to the loftiness of your purpose, the integrity of your life, the reality of your faith, and the exalted character of your devotion. . . .” (Nabil’s Narrative, page 92.)
With these closing words the Attributes of God begin softly to chant the Greatest Name.1 Then, as they form in procession the chant becomes gradually louder as the entire cast joins in and passing through the room in single file the whole audience rises and intones the chant in glorious crescendo.
————————
1Arranged to music by Saffa Kinney.
THE DRAMA OF THE KINGDOM
AMONG the all-too-rare dramatic adaptations of the episodes and teachings contained in the early history of the Bahá’í Faith there appears from the pen of “Parvine” (Mrs. Basil Hall of London) an exquisite and faithful dramatization under the title of “The Drama of the Kingdom” which took form in consequence of a Talk given in the home of her mother, Lady Blomfield, by ‘Abdu’l-Bahá. Mrs. Hall relates the history of the occurrence in the following manner and uses the story as a Foreword to the Drama itself. She says:
It was during ‘Abdu’l-Bahá’s visit to London in 1913, that he said to one whom he called “Hamsayeh” (Neighbor): “I will give you a play. It shall be called “The Drama of the Kingdom.”
The circle of friends, who were gathered round him that evening, held a tense silence, while, in his deep, sonorous voice, ‘Abdu’l-Bahá unfolded the pageant of his sublime imagination thus:
1“The Herald of the Kingdom stands before the people. Wonderful music swells from an unseen orchestra, moving and soul-
————————
1The above are the words of ‘Abdu’l-Bahá ‘Abbás, translated by an interpreter and taken down by Parvine as they were spoken.
inspiring. The music becomes soft, while the Herald proclaims the coming of the Kingdom. He holds a trumpet to his mouth.
“The curtain rises. The stage is crowded with men and women. All are asleep. At the sound of the trumpet they begin to awake.
“Suddenly the music breaks forth. The people hear and wonder. They rise and question one another, saying, ‘What is this? Whence comes this music?’ Some return to their occupations, unheeding. First a few talk together, then one ceases his work, and proceeds to make inquiries. A merchant, leaving his stall, comes to ask the meaning of the eager group. A soldier, who is practising arms, withdraws from his comrades and joins those who are wondering.
“Here, a banker is seen counting his money; his attention is attracted. He pauses in his calculation, and asks, ‘What is the news?’
"There are seen dancers and others holding revelry. Some of them come forth and ask the news, questioning the Herald.
"Now those who come to ask are more
or less divided into the following groups.
First those who, having heard of the
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Coming of the Promised
One, frown and shrug
their shoulders, returning to their work,
scoffing and disbelieving. The second type
are those who hear the music, strain their
ears to catch the meaning of the Message,
and their eyes to discern the Mystery.
“The blind receive their sight, the deaf their hearing, and those who were dead arise and walk, still wrapped in the garments of death.
"Then there are those who will not believe until they have had signs revealed to them, who crave for proof, saying: ‘But we want to see the earthquake. If the Promised One is indeed come, the sun should not give his light, the moon should be darkened, and the stars should fall. We await our Promised One till these signs be fulfilled. We expect to see him descend from heaven in clouds of great glory.’
“Those who believe shout, ‘The Promised One has come!’
“Those who doubt cry, ‘What proof is there? Show us a proof!’
“They who understand explain: ‘Whence did Christ come? He came from heaven, though they who scoffed at Him said, “We know this man, he comes from Nazareth.” This is the real meaning: His spirit came from heaven, while His body was born of an earthly mother. As it was then, so is it with the Second Coming.’
“ ‘But we await the signs,’ say the doubting ones. ‘How, otherwise, shall we know? The earth must shake, the mountains be rent asunder. The Promised One shall conquer the East and the West.’
"One arises and tells the people that these signs did not come outwardly, nor will they again. Those who look with the eyes of Truth shall see that these portents are of the Spirit.
"The Eternal Sovereignty descends from heaven, the body is of the earth. The mountains are men of high renown, whose famous names sink into insignificance, when the dawn of the Manifestation fills the world with light. The pump of Annas and Caiaphas is outshone by the simple glory of the Christ. The earthquake is the wave of spiritual life, that moves through all living things and makes creation quiver.
“The prophecies of the Coming of Christ were mystical. The prophecies concerning the Second Coming are also mystical. The earthquakes and unrest, the darkening of the sun and moon, the falling of the stars—all these foretell the humiliation of those whom the world considers great. Theologians wrapped in blind traditions, the bigots and the hypocrites: such will fall.
“Now these sayings will be divided between different people, altogether forming a conversation, questions, answers, exclamations of wonder, and so forth.
"Now a procession passes. The Pageant of the World. Grand nobles and kings, high priests and dignitaries of the Churches, jewelled and gorgeously dressed. They look with scorn on those who believe, saying, ‘Why should we leave our ancient religions?’ They look like devils of malice and oppression. Yet each is miserable. One falls, the others pass on. One is dying, the others take no heed. Another breathes his last. They do not stop by the way.
“The poor who have believed look on sadly.
"The scene changes. A banquet hall. The table is spread with all delicious foods. The orchestra is playing heavenly music. The lights become gradually more brilliant, until the whole hall is shining. Round the table sit the very poor in torn garments. An Oracle arises and cries: ‘The Kingdom of God is like a feast! Remember what Christ said! Here we see the Kingdom! The greatest and the worldly wise are not here, but the poor are here!’
"Each sings from the joy of his heart, and there is great rejoicing. Some dance, one plays the flute, everyone is radiantly happy. Someone addresses the people. While this man is speaking they say: ‘Hear him! Hear his eloquence! We know him. He was poor and ignorant, and now he is wise!’ And so they wonder and question one another. A woman rises and speaks, laughing and happy. The people are surprised, saying: ‘But what has happened? Yesterday this woman was sad, and angry. Her heart was full of sorrow and disappointment. Why is she so joyous?’
"A man enters with a sack of gold and
begins to offer it to the people, but they
refuse, one saying, ‘I am rich, I do not need
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your gold.’ ‘Nor I,’
‘Nor I.’ The man
with the gold is surprised and says, ‘We
know you are poor and starving. Why do
you not accept my gold?’
“Then a teacher comes and speaks on a high plane of philosophy and science. All those who listen wonder, for he had been ignorant and accounted of no importance. How is he now so learned?
“Another comes with shining eyes, gazing with joy on the beautiful surroundings. The people wonder and say, ‘How is this? Yesterday he was blind.’
“Another hears beautiful music and he tells the people that a few hours ago he was deaf to all sound.
“ ‘A miracle! A miracle! Here is one who was dead, and now he is walking before us!’
“One arises and says: ‘You know the cause of these miracles? It is the Heavenly food! Everlasting life is for him who partakes of it.’
“When the people hear this they shout with one will, ‘Glad tidings! Glad tidings! Glad tidings!’
“Each one is supremely happy. They sing an Alleluia.
- “ ‘O God, we were poor, Thou hast
made us rich!
- We were hungry, Thou hast made us
satisfied!
- Athirst were we, and Thou hast
given us the Water of Life!
- Our eyes were blinded, Thou hast
given us sight!
- We were dead, Thou has given unto
us Life Eternal!
- We were of the earth, Thou hast
made us the children of Heaven!
- We were outcasts, Thou hast made
us beloved!
- We were helpless, Thou hast made
us powerful! We praise Thee, O Lord!’
“After this song, glorious diadems descend from Heaven and rest on each head. They shine with the radiance of Heavenly jewels. All wonder and ask questions. One arises and says: ‘These are the crowns of the Kingdom! Ye are all Heavenly rulers! Ye shall have eternal dominion! Ye shall have everlasting glory! The illumination of the Spirit is yours. God hath chosen you for His service!’ They take their crowns and kiss them, and again place them on their heads.
“Then they begin to pray and supplicate:
- “ ‘O God! O Almighty!
- “ ‘We give Thee thanks for these proofs
of Thy bounty! Thou hast given us Life! Make us faithful, so that the fire of Thy Love may fill our hearts, that Thy Light may illumine our faces! Suffer us to be firm unto Christ, Who gave up His, life for us!’
“The curtain falls.
“In the last scene one of those who believe is taken by the persecutors. ‘We mean to kill you,’ they say. ‘I am ready. I am happy,” he answers. With hands raised to Heaven, he cries, ‘O God, make me ready!’ Then he gives himself up to death. Another is taken, and dies praising God and His mercy to mankind.
“The third is a beautiful girl in a white garment, wearing a heavenly crown upon her head. Everyone gazes at her in wonder. She is seated, apart. A messenger comes from the king with an offer of great riches if she will but give up the Cause which she has embraced. She answers: ‘I have not accepted this Cause blindly through tradition. I have seen Reality with mine own eyes. The Truth is in my heart. How should I renounce my faith thus lightly?’
“Her father comes and entreats her to give up her faith. She answers: ‘Can you say there is no sun, when you have seen the light? I have seen the sun. You are blind. Awake! The sun is shining! Awake!’
“Another messenger comes. This time from a great prince who wishes to wed her on condition that she gives up her Faith.
“ ‘I know no prince save God. I will not close mine eyes to the glory of the King of Kings!’
“They bring her jewels and an earthly crown. ‘Take these!’ they say.
“ ‘They to me are so many pebbles. The
jewels I treasure are the jewels of the
Knowledge of God. Those earthly stones
may be broken or lost. Behold my crown!
These are eternal gems! For those earthly
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stones that are doomed
to perish, shall I
give up this everlasting diadem?’
“They say, ‘We shall imprison you.’
“ ‘I am ready.’
“ ‘We shall beat you.’
“ ‘I am ready.’
“ ‘You shall be killed.’
“ ‘Is that true? Do you mean it? Good news! Good news! For then I shall be free. My soul will escape like a bird at liberty from this earthly cage of my body. Then shall I be free. Now am I in chains. These bonds shall be broken. Kill me! Kill me!’
“They slay her. One after another is martyred. Their bodies are covered with shrouds, and after a great silence, people enter and lift the coverings in awe and reverence. They stand wondering, as lights appear and shine upwards from the prostrate forms. Some question as to the meaning of this. ‘These are the spirits of those martyred ones, freed from their bodies. Now they enjoy eternal liberty. See, they ascend to the Kingdom!’
“Realizing this, the people are wonderstruck and amazed. They cry: ‘What bounty God has bestowed on them! They are so free and joyful! Now can they wing their way to the Sun of Reality! Their souls return to the Sun from which they came!”
PAGEANTRY AS A FACTOR IN EDUCATION
BY CLARA WEIR
THE idea of the pageant, which I here describe, gradually evolved during my travels through Egypt, Palestine, and Syria when I had exceptional opportunities to make interesting contacts, and later, when I joined the International Students Union while I was associated with the Bahá’í Bureau in Geneva, Switzerland. I was so deeply impressed by my experiences that I decided upon my return to the schoolroom to convey to my pupils my deep conviction of the essential oneness of humanity. It was then that I chose the pageant as a means of giving a message.
An educator said to me after hearing of this pageant, “A pageant to be of value must grow out of the heart of the author, and the need of the times.” I had a message to give and I felt that the need for it had arisen. It was begun as a simple program presented in observance of International Goodwill Day, before a Junior High School audience, but has since been given for adults to whom it appealed as much as to the youth, which proves that the realm of the heart is “ever-young.”
The history of pageantry is an interesting one. It sprang from pantomime, the first means of communication, and became the mother of drama. Primitive man probably found in pageantry, crude as it might be, a vehicle for the education of the youth of his time. “The modern pageant is the direct outgrowth of the mystery play of the later middle ages,” writes Linwood Taft in his book on pageantry. “The mystery play concerned itself with those rare moments of human experience when existence was transformed and glorified through contact with the divine. The sort of event that makes suitable and convincing pageant material, is the unusual event, the kind of thing that happens only in exalted moments when men are inspired by lofty and unselfish motives.”1
We called our presentation “A Pageant of Nations.” A spectator might have described it as follows: A prologue consisting of a dialogue between an old sea-captain and his grandson prepared the audience for the pageant that followed. The Captain relates his experiences in foreign lands, dwelling upon the similarities of people as a factor for unification, and upon their differences as a means of enhancement; the need of acquiring better understanding so that prejudice may not enter and, also, of cultivating not only the international mind but the international heart as well.
The notes of a flute furnish the signal for
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1The Technique of Pageantry (1921), Introduction, pages 5 and 6.
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the opening of the pageant,
the sea-captain
and boy remaining at the left of the stage
as spectators. The opening of the curtain
reveals the Spirit of Progress with
outstretched arms before the altar of
civilization. The altar is placed before
a stone wall
above which appear the dome and minarets
of a mosque, the tower of a Christian
church, and the top of a synagogue, with
shrubbery and palm trees, the scene typical
of an eastern Mediterranean port. The
orchestra is playing an oriental melody,
"In a Persian Market.” The Spirit of Progress
turns and takes her place “down right.”
There she tells the story of civilization as
each nation, race, or religion places its
contribution upon the altar.
Part I contains nineteen episodes, beginning with the contributions of the Egyptians and Babylonians to science, and of the Hebrews to religious literature. Since the main thread of continuity is furnished by the theme of the "oneness of humanity” the episodes are strung upon this theme, with equality as the unifying idea. The Spirit of Progress shows that many great religious leaders have arisen from time to time, presenting as the highlight of Part I the contribution of Palestine with its gift of the Prince of Peace,—this scene presented by a girl who recites some of the Beatitudes, using as a climax, "Blessed are the peacemakers for they shall be called the children of God,”—followed by the contribution of Rome in the spread of Christianity; of the Crusades as a factor in the greater unification of mankind; of the gifted and heroic Joan of Arc; and of Lafayette, who cemented the friendship between France and America; of Scotland and Robert Burns, the poet of brotherhood, who enters to the tune of “Auld Lang Sync,” and reads the lines,
- For a’ that and a’ that
- It’s comin’ yet for a’ that,
- That man to man, the world o’er
- Shall brothers be for a’ that.
And the curtain closes upon Part I with the joyous dancing of an Irish jig.
Then followed a short interlude called "A Pledge of Friendship” in which Columbia, as hostess, welcomes Canada, Mexico and the South American Republics. This is to demonstrate that if friendship is possible among these closely associated and related nations, then friendship is also possible among all nations. It was a brief, yet colorful and convincing scene.
The Spirit of Progress then introduced Part II, before the curtain. A mu’adhdhin’s call is heard in the distance. Upon the opening of the curtain, he gives the call again, and then the Muḥammadans are seen passing to the mosque. At the ringing of the church bells a priest and his flock are shown on their way to mass; later, a rabbi and his followers pass to worship—this to show that there is a place for every religion in the scheme of things. A typical oriental street scene is then enacted. Arabs, Jews, Hindus, Íránians, American and English tourists, Chinese, and American sailors, present a colorful panorama. Native women carrying water jugs and baskets, boys bearing huge trays of bread on their heads, and a man leading a white donkey suggest consistently the picturesqueness of such a scene. In the meantime the sea-captain has again resumed the dialogue with the boy, explaining some of the customs in Eastern cities.
The pageant proper was then resumed with the contribution of the Arabs. Part II (in eleven episodes) has a number of very dramatic moments such as the unveiling of Táhirih, the noted woman martyr of Írán, emancipator of women of Írán; the gift of Spain in the discovery of America, the Spirit of Progress reading these lines of Joaquin Miller:
He gained a world;
He gave that world its grandest lesson:
“On and on.”
And then to the tune of "Columbia, the
Gem of the Ocean," occurs the dramatic
entrance of the framers of the Constitution;
and while the music continues faintly, a
colored boy struggles “center stage” with
his hands tied. After several futile attempts
to free himself, the tall, familiar figure of
Abraham Lincoln enters and seeing the
slave’s anguish releases the bonds. The
contributions of the negro race then follow.
One of these is the spirit of reverence as it
reveals itself in his beautiful spirituals, sung
by a negro quartet. This scene is followed
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by the contribution of
the American Indian,
climaxed by the entrance of an Indian chief
who lays his pipe of peace upon the altar as
a symbol of brotherhood. Part II ends with
the gift of Switzerland: the city of Geneva,
the home of the League of Nations.
The Spirit of Progress then resumes her recital. She says, in brief, that the most important contributions have been made to civilization during the past eighty years, improvements in the means of transportation and communication drawing the ends of the world together. When Morse flashed those dramatic words through space in 1844, a new era was begun, and that, “America has been the leader in furnishing the means for the unification of mankind, but that it is self-evident that unity and conciliation of the human world cannot be accomplished through material means alone. To establish these principles a propelling power is needed which will bring about a change in the hearts of all men. Unity is possible among individuals; it is also possible among nations.”2 “When God created the earth there were no restricted boundaries. He did not apportion a certain area to Germany, or to France, or to England, but He apportioned the whole earth to humanity. Then let us strive again to bring about such a condition so that when one is asked, ‘To which nationality do you belong?’ the answer will be, ‘To the nationality of humanity.’ In other words, we shall be one family, one country, one world of humanity; and these wars, hatreds and strifes will pass away.”3
The last scene shows the uniting of the nations. All participants are gathered on the stage at the rise of the curtain. In the center stands a slender white pole surmounted by a white dove, with wings outspread, and bearing in its bill an olive branch. Colored streamers suspended from the pole are held by some of the representatives of the nations and races who form two circles about the pole. At the right stands Táhirih, the lady of Írán, who is saying to them: "In a flower garden, the very fact that there is difference and variety lends a
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2‘Abdu’l-Bahá, Promulgation of Universal Peace (1923), 1, 9. 3</supIbid., 1, 114.
charm to the garden. If all were of the same color the effect would be monotonous and depressing. The world of humanity is like a garden, and the various races are the flowers which constitute its adornment.”4 Here the orchestra plays a beautiful strain and the Spirit of Peace enters dancing joyously from one nation to another, joining the hand of each with the hand of its neighbor. Then the Spirit of Progress pronounces the following words: “Me thinks in the stillness of the ecstasy of this hour I hear wafted to earth, upon the breath of peace, this message: ‘Ye are all the leaves of one tree, the drops of one ocean, and the children of one God!’ ”5
A pageant of this kind, planned as a means to an end—a phase in the education of youth—proved a most interesting experiment. When we realize that upon the youth of today rests the responsibility of rescuing the world from chaos, of active participation in the reconstruction of tomorrow, and the establishment of a new world order, then no effort is wasted, for the soil is fertile, and results are certain.
The combined effect of the words of the Spirit of Progress, the music by an orchestra of forty pieces, which supported the theme and added to the emotional appeal, and the colorful costumes, made a lasting impression on the youthful audience; and those in the pageant expressed a joyousness that was refreshing. Each one felt that he had lost his identity in that of a nation, a race, a religion, or a quality. Joan of Arc was the personification of the spirit of Joan of Arc; Abraham Lincoln spoke but one line, “The white race should be just and kind to the colored race,” but that line was imbued with the spirit of Lincoln. The girl who represented the lady of Írán said to me: “I feel that I am Táhirih and that the words she speaks are my words,” and of this one could have no doubt. So vivid was her pantomime that when she unveiled her face and walked off the stage with beckoning gesture, one could almost supply these words: “O women of the world, follow in my footsteps—work for the advancement
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4Ibid., 1, 42. 5Ibid., 11, 316.
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of human kind, and lift
the veils of prejudice.”
At a time of social, economic, and political unrest, the pageant furnishes a very effective, if not an ideal means for establishing unity and understanding. Associating itself with sound, color, action, and music, with all the realm of art, history, and literature at its command, pageantry holds an indisputable place in education.
