Again, this pivotal action has a direct relation to the advancing of the body forward toward a listener, the gravitation of passion which shows sympathy and feeling as well as attention. The student may think such directions mechanical, especially when it is said that the body in turning must sustain its centrality, and that there must be no confusion or useless steps; but in this case the foot acts as a kind of eye, by a peculiar instinct which always indicates the proper direction, if the speaker is really thinking dramatically. The turning action of the body has been discussed more at length than the other elements of action on account of its importance in the rendering of a monologue, and also because it is usually misunderstood or entirely overlooked. There are many other expressive actions associated with this turning of the body which need discussion. They, however, belong to the subject of pantomimic expression, rather than to a general discussion of the nature of the monologue and the chief peculiarities of its interpretation. The same may be said regarding the innumerable and extremely subtle and complex actions of other parts of the body. The actions concerned in the rendering of a monologue are those associated with the every-day intercourse of men in conversation, and are often so delicate and unpronounced that an auditor will hardly notice them. He will simply feel the general impression of truthfulness. The interpreter of the monologue, for this very reason, needs to give the most careful attention to action as a language. Neglect of action is the most surprising fault of modern delivery. Anything like an adequate discussion of action as a language is impossible in this place. There are, however, certain dangers which call for special though brief attention. In the first place, action must never be declamatory or oratoric. Swinging actions of the arms and extravagant movements of the body--possibly pardonable in oratory, on account of the great desire to impress truth upon men, to drive home a point energetically--are out of place in a monologue. The manner must be forcible, but simple and natural. Activity must manifest thought and passion; it should not be merely descriptive, but must arise from the relations of the interlocutor. The monologue requires great accentuation of the subjective element in pantomime. This brings us to a second danger. The dramatic artist is tempted merely to represent or imitate. He desires to locate not only his listener, but every object, and so is tempted to objective descriptions.