Children of the Old Testament — A Reader’s Guide

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In Category - Theology
Anonymous Project Gutenberg 2007 Not confirmed
Bible stories -- Old Testament; Bible. Old Testament -- Biography -- Juvenile literature; Children in the Bible -- Juvenile literature Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 23,043
Reading time 101 min
Text sections 3

Before opening Children of the Old Testament — A Reader’s Guide, the edition data offers a quick orientation: 23,043 words, 1 hr 41 min estimated reading time, and 3 detected text sections.

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Project Gutenberg metadata also associates the work with “Bible stories -- Old Testament,” connecting these edition facts with the source record’s subject description.

This 1908 collection retells Old Testament stories focusing on children and youths, such as Joseph, Moses, Samuel, David, and a little Jewish maid. The anonymous author uses vivid, novelistic details—like Joseph's coat of many colours and David's harp—to expand biblical narratives for young readers.
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Joseph was dearly loved by Jacob, because the boy had been born when his father was an old man; and that was one reason why his older brothers hated Joseph and did all they could to annoy him. Perhaps they feared that their father would leave all his wealth to his favourite son, and you know that this sometimes makes quarrels among brothers and sisters.

Now Jacob showed his special love for Joseph by making him a coat of many colours--a long tunic with stripes of red, green, blue, and yellow, having a coloured fringe at the knee, and a bright shawl to bind it closely round his waist. Joseph was very proud of this coat, but the others hated both it and him, believing that he would get the best of everything from their father--all but Reuben, the eldest, who loved the lad, and smiled kindly when he saw his gay tunic.

One day at the harvest-time the sons of Jacob were all at home, cutting down the yellow grain, and taking it away on the backs of asses to the threshing-place. Joseph, of course, worked with them, but they were always finding fault with him, and trying to vex him. He knew, however, that his father loved him, and this made him able to bear their unkindness with patience. Besides, his mind was filled with boyish thoughts of how great he would be, and what he would do, when he grew up to be a man. He was very strong for his years, and joined with the women in tying the grain into bundles, and loading it on the asses; and it was very hard work, indeed, out there in the scorching Eastern sun.

But rest came at night. When Joseph lay down with his little brother on a heap of straw at the back of the tent, he slept soundly, and dreamt the golden dreams of youth.

He dreamt one night that they were all binding sheaves once more out in the sunny field, and his brothers' sheaves rose up and bowed down to his sheaf. Joseph took it all in earnest, and next day he told the dream to his brothers, perhaps as they were sitting at their midday meal in the shade of a spreading tree; but he soon knew from their angry faces that they saw nothing pleasant in it, and when his story was told they called out to him,--

"Shalt _thou_, indeed, reign over _us_?"

They were jealous of him, and, of course, this did not make them any kinder to the young lad. But Joseph remembered what his father had told him--that dreams were sometimes messages from God; and he believed that his dream was a message, and that he would one day be greater than all his brothers. They also believed in dreams, and feared that what the boy had dreamt might come true, so that they began to hate him all the more.

In those days people thought that the stars had a great deal to do with their lives; and certain men said that they could tell what would happen to a new-born child when he grew up by looking at the stars which were to be seen in the sky at the time of his birth.

Now Joseph looked often at the stars, and wondered who placed them there, and what they had to do with him. And one night as he lay asleep in his father's tent he had another dream, and this time it was about the stars that could be seen through a slit in the tent, gleaming and sparkling in the dark blue sky. He dreamt that the sun and the moon and eleven of the largest of the twinkling stars came and bowed down to him.

He told this dream also to his angry brothers, as well as to the old man his father, who gently checked him for his vain thoughts. He had, however, a soaring mind, and had more dreams still, of which we are not told, so that his brothers gave him, partly in mockery, the name of "Joseph the Dreamer."

Now at certain seasons grass was somewhat scarce in the Vale of Hebron, so at one time Jacob sent his sons away with their sheep and cattle to seek food in other valleys where the grass was longer green. They went along the hills to the beautiful Vale of Shechem, fifty miles away; and after some time had passed the old shepherd began to wonder if they were all well, for he had not heard from them for some days.

The anonymous author of Children of the Old Testament (1908) opens the story of Joseph by grounding it in sensory, domestic detail: Joseph is “about seventeen years of age, and tall and strong,” while his brother Benjamin is “a little red-cheeked boy of five, with merry brown eyes.” This specificity—ages, physical descriptions, even the colour of a coat—is characteristic of the whole work. The catalog subjects classify the book as “Bible stories -- Old Testament” and “Bible. Old Testament -- Biography -- Juvenile literature,” but the excerpts reveal a text that freely embellishes the biblical accounts with invented scenes, dialogue, and emotional commentary. The author does not simply retell; they expand, explaining motives (“Perhaps they feared that their father would leave all his wealth to his favourite son”) and adding cultural colour (the coat is “a long tunic with stripes of red, green, blue, and yellow, having a coloured fringe at the knee”).

Embellished Settings and Invented Details

The excerpts show a consistent pattern of adding concrete, often picturesque details absent from the biblical text. In the Joseph story, the author describes the harvest work: “cutting down the yellow grain, and taking it away on the backs of asses to the threshing-place.” Joseph “joined with the women in tying the grain into bundles”—a detail not found in Genesis. Similarly, David’s musical skill is elaborated: he “often played strange music upon a rude harp made by himself” and sang “songs of his own making about the white flocks and herds, the green hills and cool streams.” The author also inserts explanatory asides, such as “for all the young men of the villages learned the use of these weapons in their sports and games.” These additions serve to make the ancient setting vivid and relatable for a juvenile audience, but they also mean the book is as much a work of historical fiction as a scriptural paraphrase.

Moral Commentary and Emotional Framing

The narrator frequently steps in to interpret characters’ feelings and moral lessons. When Joseph’s brothers hate him, the author adds: “you know that this sometimes makes quarrels among brothers and sisters.” Joseph bears their unkindness “with patience” because “his mind was filled with boyish thoughts of how great he would be.” In the David section, after Samuel anoints him, the people “raised a great shout of joy,” and the author notes that David “little knew what was about to happen.” The text also explicitly praises David’s piety: “Under the teaching of Samuel his heart opened towards God as a flower to the sun.” This overt moralizing—explaining why characters act as they do and drawing explicit lessons—aligns with the catalog’s “Juvenile literature” tag but goes beyond simple storytelling into didactic commentary.

Structure and Selection of Episodes

The table of contents lists eleven stories, each centred on a child or youth: Joseph, Benjamin, Moses, Ruth, Samuel, David, King David’s little boy, Elijah and the widow’s son, the Shunammite’s boy, and a little Jewish maid. The excerpts cover only the first (Joseph) and part of the David story, so the full scope is unknown. However, the selection is notable for including less prominent figures like the Shunammite’s boy and the little Jewish maid (likely Naaman’s servant). The author does not simply retell the most famous episodes; they choose stories where a child plays a key role. Within each story, the narrative follows a linear, chronological arc, with clear scene breaks (marked by Roman numerals in the David section). The prose is consistently simple and declarative, with short paragraphs and direct address to the reader (“you know”), typical of early 20th-century juvenile religious literature.

Readers should approach Children of the Old Testament as a creative retelling rather than a strict scriptural paraphrase. The author’s additions—ages, colours, emotions, and moral asides—are not found in the Bible but are consistent with the Edwardian era’s style of juvenile religious instruction. The book offers a window into how biblical stories were adapted for children a century ago, with an emphasis on character, setting, and clear moral lessons. Those interested in the historical reception of the Bible or in comparative children’s literature will find it a valuable primary source.

That rainy Tuesday, I kept returning to the little Jewish maid’s quiet courage in Children of the Old Testament, her voice so small against the general’s pomp. Later, drying the windows with my sleeve, the weight of that water imagery pulled me down a shelf. I found myself turning pages in The Flood — Inside the Classic, seeing Noah’s ark not as story, but as a held breath.

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