In "The Italian in England" (p. 152), the word "second" not only needs emphasis by the voice, as has been shown, to indicate that the speaker has already given an account of another experience, but he may possibly throw up his hands to indicate something unusual, something beyond words in the experience he is about to relate. It is especially necessary in the monologue that action should show the discovery, arrival, or initiation of ideas. A change in the direction of attention, a new subject or current of ideas, cannot be indicated wholly by vocal expression. The mental conjectures of Mrs. Caudle, for example, are very pronounced, and cannot be fully expressed by the voice without action. Notice how definitely action, in union with vocal expression, shows whether Mrs. Caudle's new impressions are due to the natural association of ideas in her mind, or to the words or conduct of Caudle. The last mentioned give rise to her explosiveness, withering sarcasm, and anger. Such discriminations produce the illusion of the scene. In "Up at a Villa--Down in the City" (p. 65), notice how necessary it is for the interpreter to show the direction of his attention, whether he is speaking regarding his villa or the city. Note the disgust and attitude of gloom in his face and bearing as he gazes towards his villa. "Over-smoked behind by the faint gray olive-trees," suggests a picture calling for admiration from us, but not from him. To him the tulip is a great "bubble of blood." All this receives a definite tone-color, and it must be borne in mind that without action of the body, the quality of the voice will not change. The emotion diffuses itself through the whole organism of the impersonator of the "person of quality," and even hands, feet and face are given a certain attitude by this emotion. Contempt for the villa will depress his whole body and thus color his tone. On the contrary, when the speaker turns to the city, his face lights up. The "fountain--to splash," the "houses in four straight lines," the "fanciful signs which are painted properly,"--all these are apparently contemplated by him with such an expansion and elevation of his body as almost to cause laughter. This contrast, which is sustained through the whole monologue, can be interpreted or presented only by the actions of the body and their effect on the tone. Expression of face and body are necessary to suggest the delicate changes in thinking and feeling. Notice in "A Tale" (p. 163) that the struggle of the woman to remember is shown by action. The two lines "Said you found it somewhere, ... Was it prose or was it rhyme?"