lilies. The very way she carries them and bends her head to catch their fragrance shows that to her they are the most beautiful things in the world. Kneeling she gives them into the hands of the PRIEST, and as he offers them, she listens with childish confidence for the ringing of the bells.—Still there is no sound save the organ music and the singing of the choir, subdued almost to a breath as the gifts are offered. Abashed as the PRIEST blesses and dismisses her, the young girl steps back and stands near the old Sage.)

(There is a stir in the chancel, even the PRIEST turning to watch. The KING enters. He is a man of forty with tall distinguished figure and a proud face. His purple robes, richly jeweled, trail far behind him and on his head he wears his crown. Everyone leans forward watching with the greatest tension. The KING, exalted with his mood of selfsacrifice kneels, removes his crown and lays it in the hands of the PRIEST. HOLGER crouching in the shadow quivers with anticipation. Again the pantomime of hope and failure. The PRIEST turns back to the KING and raises his arm in the customary gesture. The KING starts to rise then suddenly as though overcome at this spiritual defeat sinks again to his knees before the altar and buries his face in his hands, praying. The PRIEST stands with arms crossed upon his breast, regarding him sorrowfully.)

HOLGER. (Overwhelmed with disappointment, softly to the woman) Perhaps there are no chimes, perhaps the Christ hears us not!

WOMAN. Have faith,—have faith in God.

HOLGER. I would that I could give my pennies to the Child.

(The KING rises from his prayer and goes sadly to the right, standing near the lady in red.)

WOMAN. (In a low ringing voice that thrills like the call of a trumpet) Go up, my son,—fear not—The Christ-Child waits for all!

(HOLGER breathless with the adventure rises and goes timidly forward out of the gloom of the hut into the splendor of the chancel, looking very small and poorly dressed beside all the great ones. He holds out his pennies to the PRIEST who bends and takes them with a tender little smile, and HOLGER, crossing himself, too abashed to stand and wait, shrinks back into the darkness and the sheltering arms of the Woman.)

(The PRIEST goes up the steps of the altar and holds the pennies high above his head in consecrating gesture, and as he does so, the organ music breaks off with an amazed suddenness for from above there comes the far triumphant ringing of the chimes, mingled with ethereal voices singing The Alleluia.)

(A wave of awe sweeps over everyone in the chancel and as the PRIEST wheels and gestures them to their knees, they prostrate themselves quickly. HOLGER, too, kneels awe-struck but the woman rises to her full height and stands watching. From this time on, she withdraws gradually into the deeper shadows of the hut and is seen no more.)

(As they all kneel the Angel enters from the right, ascends the steps of the altar and stands beside the huddled figure of the PRIEST. As she stands there, a single pencil of light shines down upon her from above, a ray of light so brilliant that everything around seems dull in comparision, and while she gives her message, the light above grows till it floods her hair and garments with a miraculous radiance. The ANGEL smiles at HOLGER and chants in a lovely voice.)

ANGEL. Verily, verily, I say unto you, it is not gold nor silver nor rich pearls but love and selfsacrifice that please the Lord. The Christ-Child was hungered and you gave him meat,—a stranger and you took Him in.

HOLGER. (In an awed tone) But I—I have not seen the Christ-Child.

ANGEL. Inasmuch as you have done it unto one of the least of these His Brethern, you have done it unto Him! (The ANGEL stands with one hand uplifted, as the music rises in a great crescendo of triumph. HOLGER, quite overcome, drops his face in his hands and as the climax of the singing is reached, the whole tableau is held for a moment, then blotted out in darkness.)

(There is a pause, then the light on the hearth flares up revealing the boy alone, still on his knees, looking up bewildered at the back wall of the hut, where the vision had been. Swiftly he rises to his feet and turns to face the Woman.)

HOLGER. Dame,—dame!—The Chimes,—the star—did you see? (She is gone, he stares about him looking for her) Gone! Gone! (The music still rings softly) But the Chimes! (He turns, runs to the window, and flings open the casement. A soft light, half moonlight, half something more luminous pours in upon him. He speaks in a tone of infinite happiness, looking upward) The stars!—God's Chimes!

THE CURTAIN FALLS SLOWLY.

THE APPENDIX

Sketch of hut scene for "Why the Chimes Rang," before the backing of the gauze drop is raised. (Everything back of the fireplace on the left, and the window on the right, is painted on the gauze, including the stool and the supporting pillar.)

Sketch of chancel scene for "Why the Chimes Rang," after the backing of the gauze drop is raised. (For simplified setting made of screens, see diagram on page 34 of appendix.)

The accompanying scenery plates are not intended to be followed in all their elaborate detail but merely to give an idea of the effect to be worked toward in planning the scenery.

APPENDIX.

The following suggestions for a simplified staging of "Why The Chimes Rang" are offered, not to college dramatic societies or other expert amateurs but to the many young people in the secondary schools, Sunday schools and country districts, who would enjoy staging short plays if it could be done without elaborate scenery or lighting equipment and without previous experience in stage management.

Simplicity aided by imagination goes far upon the stage, and it should always be remembered that the real aim is the creation of a given emotion in the minds of the audience rather than the creation of a given thing upon the stage. If a circle of gilt paper on the head of a fine looking lad can create a vivid impression of kingly dignity, all the crown jewels of Europe cannot better the paper for stage purposes.

In producing a play, it should first be carefully read to see what main impression is to be conveyed, and what chief elements are to be emphasized to make up this impression. The details can then be worked out in harmony with the more important factors.

In "Why The Chimes Rang," religious exaltation is the mood to be created, and the divine beauty of charity is the main theme.

Three sharply contrasted effects are called for: the wood-chopper's hut, dark and humble; and, set against this, the earthly splendor of the cathedral chancel, which in its turn is dimmed by the miraculous presence of the angel.

It is expected that this play will be adapted, by