It is easy to see that this pivotal action is of great importance on the stage. It is the very basis of all true stage representation. The amateur always "noses" his interlocutor. The artist is able to show all degrees of attention by the pivotal action of the body, and thus reveal to an audience the very rank of the person addressed, whether that consists in dignity of character, which makes him a special object of interest, or in a royal or conventionally superior station. That the pivotal action of the body in a monologue is especially important can be seen at once. The object of attention is an invisible listener, and the turning of the body to the side not only shows the speaker's own attention, but it helps the auditor to locate the person addressed. Without this pivotal action, the reader is apt to declaim a monologue, and confuse it with a speech. The monologue is never a direct endeavor to impress an audience. Only occasionally can the audience be made to stand for the person addressed. Some one will ask, Why at the side? Because if we hold out two objects for an audience to observe, we shall put them side by side. The placing of one before the other will cause confusion or prevent the possibility of discrimination. In art, the law of rhythm, or of composition, demands that objects be distributed side by side in order to win different degrees of attention. A picture of any kind demands such an arrangement of objects as will hold the attention concentrated. An object in the background may aid the sustaining of attention upon something in the foreground. Objects are placed in opposition to cause the mind to alternate from one to the other, and thus to sustain attention until it penetrates the meaning of the smallest scene. This is the soul, not only of pictorial, but of dramatic art. Placing an imaginary character at the side does not make words necessarily dramatic. This may be only an external aspect of the poem. The most passionate lyrics may be given with this change of attitude because of their great subjectivity. They are often as subjective as a soliloquy. Again, this turning of the body to the side does not mean that the person to whom the speaker seems to be talking is definitely represented. The listener may be located at the side for a moment, it may be unconsciously, and lost sight of almost entirely. The feeling must often absorb the speaker and pass into the most subjective lyric intensity. Dramatic art must move; there must be continual progressive transitions. Hence, the picture must continually change, and pivotal flexibility is especially necessary. Such turning of the body can be seen in every-day conversation. The degree of attention to a listener varies in all intercourse. While talking to another, the speaker may become dominated by a subjective idea or mood and turn away; yet the listener's presence is always felt.