Between this line and the last the cause of the light outside is discovered, and a complete recovery from terror to joy must be indicated. With the greatest relief he must utter the last line: "God bress de Lo'd, hit's de folks got back." The study of action in the rendering of a monologue brings us to one of the most important points in all dramatic expression. No form of dramatic art is given so directly to an audience as is a story or a speech. The interpreter of a monologue must feel his audience, but not speak to it. He must address all his remarks to his imaginary listener. Where shall he locate this listener, and why in that particular place? The late Joseph Jefferson called attention to the difference between oratory and acting. "The two arts," he said, "go hand in hand, so far as magnetism and intelligence are concerned, but there comes a point where they differ widely. The actor is, or should be, impressionable and sensitive; the orator, on the other hand, must have the power of impressing." Accordingly, the orator speaks directly to his audience; the actor does not. This distinction is important. It may possibly go too far, because the orator must give his attention to his truth, must receive impressions from his ideas, and reveal his impressions to his audience. He too must be impressionable and sensitive, but his attentive and responsive attitude is always to the picture created by his own mind. He is impersonal and gives direct attention to his auditors. He receives vivid impressions from truth, and then endeavors to give these to others. In a play, on the contrary, the actor receives an impression from his interlocutor. He must give great attention to what his interlocutor is saying, and must reveal his impressions to his audience by faithfully portraying the effect of the other's thought and feeling upon himself. In the monologue the same is true. The interlocutor, however, is imagined. More imagination is called for, and greater impressionability and sensitiveness, because there is no interlocutor there for the audience to see. The hearer must judge entirely from the impressions made upon the speaker. Action, therefore, is most important. The impersonator must reveal decidedly and definitely every impression made upon him, but must speak to, and act toward, his imaginary auditor, and only indirectly to his audience. The interpretation of the monologue thus brings us to a unique form of what may be called platform action, demanding specific attention. If the interpreter is not supposed to speak directly to his audience but to address an imaginary hearer, where must this imaginary hearer be located, and why there? Usually somewhat to one side. Only in this way can the speaker suggest his differing relations to listener and audience.