Chapter 15
At six years of age, the children were entered in the school of oratory, and also given the signs and graces of unspoken words by means of gestures. And now, they began to take part in theatricals and operatic performances.
For such purposes, these two houses were provided with angel chambers adjoining the stages, and during the performances the angels came in sar’gis, also taking parts in the operas, ascending and descending before the audiences, singing and speaking audibly, so all could hear them.
Many of the plays and operas were composed and prepared by the angels, who also gave directions how to put the pieces (productions) on the stage. And in some of the pieces there were, of the children and angels combined, more than three hundred performers on the stage at one time.
Instead of the crude and loud-sounding horns and hideous instruments, as used by the Uzians for their operas, the opera here was provided with an organ of full power, and with instruments of delicacy and sweetness, so that the most refined ear would not be shocked or pained by any crude or disgusting noise, so common in the Uzian orchestras.
Now as to the plays, whether in the opera or in the theater, they varied on different nights, some being adapted to young children, some to older ones, and some to adults. But, for the most part, the plays and operas pertained to illustrations embracing a life on earth and an entrance into the lower heavens, showing also the part that angels of purity take in real life, guarding, and advising mortals by inspiration to righteousness, and also showing how drujas inspire mortals to sensual things and to wickedness.
So that the plays required the presence of angels, to illustrate their parts in the affairs of mortals; and every play was made a lesson and sermon on life, so simple a child could understand them and apply the instructions to its own soul.
Here, then, was the difference between the plays and operas in Shalam, compared to those of the Uzians: With the latter, they apply to the lives and adventures of mortals, and to histories of mortal affairs and occurrences wrapped up in inexplicable causes; but the plays and operas with the Faithists, in Shalam, illustrated the same things by showing the causes that govern and control mortals by spirit- presence.
So that, for example, if it were necessary to exhibit a drunkard on the stage, it was also shown how the drunkard was surrounded by dark spirits (drujas), who inspired him to his course; and the struggle of his guardian angels to save him was also exhibited, showing thus how the choice lay with himself as to Whom he would serve, satan or Jehovih.
In the simple plays, where the children took their first parts, they were taught without books, by repeating after their teachers.
And here was a new school, not known among the Uzians; which was, to learn by hearing words spoken, then repeating them back. First they practiced with half a dozen words, then with a dozen words, then with two dozen, then four dozen, and so on. And in a little while, many of the children could repeat whole chapters, by simply hearing the words spoken once.
Tae said: That clearness of mind resulting from an herbivorous diet, which was and is wholly unknown among the Uzians, first began to manifest here.
Tae said: And Jehovih further blessed our children in su’is, so that many of them who had not yet been taught to read, could lay a hand on a printed page, and repeat it word for word.
Tae said: And their little playmates, hearing them, could repeat the same things. And some of them would hold a sealed letter in their hands, and read it word by word; so that dissemblance and secrecy had become like a farce before Jehovih’s children.