The suggestion of these relations is an aspect of expression frequently overlooked. In society or on the street it is not polite to talk to any one over the shoulder, and turning the back upon a man repels him most effectively. The turning away of the body may show contempt or inattention. It may, however, also show subjectivity and indicate the fact that the man is turning his attention within to ponder upon the subject another has mentioned, or is reflecting on what he is going to say. Attention is the basis of all expression, and the first cause of all action, since we turn our attention toward a person and listen to what he has to say before we speak to him. Accordingly, pivotal action of the body is important in life, and is of great importance in all forms of dramatic art, whether on the stage or in the rendering of a monologue. A speaker, especially a dramatic speaker, pivots from his audience when he becomes subjective, and suggests an imaginary listener, or represents a conversation between two or more in a story. He does not do this consciously and deliberately, but from instinct. Primarily, it is obedience to the dramatic instinct that causes this pivotal action. Any one who will observe the natural actions of men on the street, in business, in society, or in impassioned oratory, can recognize the meaning and importance of the pivotal actions of the body. It is one of the fundamental manifestations of dramatic instinct. Pivoting toward any one expresses attention and politeness. Attention is the secret of politeness. To listen to another is a primary characteristic of good breeding. Pivoting toward one is also indicative of emphasis. In conversation, even in walking on the street, when one has something emphatic to say he turns directly to his interlocutor, and often adds gesture; on the other hand, turning away, or failing to pivot toward some one, indicates an estimate that something is trivial or unimportant. In the delivery of a monologue there is often an object referred to which the interlocutor naturally places on one side, while he locates his listener on the other. Thus, in the unemphatic parts he would turn away and not be continually "nosing his interlocutor" or talking directly to him. This would cause him to give his ideas to the audience directly or indirectly. Whenever he talks emphatically, he would turn toward his interlocutor. When the object referred to is more directly in the field of attention, he would turn toward that. Ruth McEnery Stuart, for example, is the author of a monologue in which an old countryman talks about his son winning a "diplomy." The speaker in the monologue would naturally locate the diploma on one side and the listener on the other.