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: [Illustration] 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.