The attitude at the climax of any motion makes the motion emphatic. The monologue is so subtle, and requires such accentuation of deep impression, that attitudes are especially necessary. An attitude accentuates a condition or feeling by prolonging its pantomimic suggestion. As the power to pause, or to stay the attention until the mind realizes a situation and awakens the depths of passion, is important in vocal expression, so the staying of a motion at its climax, a sustaining of the attitude that reveals the deepest emotional condition, is the basis of true dramatic action. Of all languages, action is the least noticeable, the most in the background, but, on the other hand, of all languages it is the most continuous. From the cradle to the grave, sleeping or waking, pantomimic expression is never absent. Consciously or unconsciously, every step we take, every position we assume, reveals us, our character, emotions, experiences. Hence, any dramatic interpretation of human experiences or character, such as a monologue, demands thorough and conscientious study of this language, which reveals both the highest and the lowest conditions of the heart. XII. THE MONOLOGUE AND METRE One of the most important questions in regard to form in poetry, especially the form and interpretation of the monologue, relates to metre. To most persons metre is something purely arbitrary and artificial. Books on the subject often give merely an account of the different kinds of feet with hardly a hint that metre has meaning. But metre is not a mechanical structure which exists merely for its own sake. When the metre is true, it expresses the spirit of the poem, as the leaf reveals the life and character of the tree. The attitude of mind of many persons of culture and taste toward metre is surprising. Rarely, for example, is a hymn read with its true metric movement. Is this one reason why hymns are no longer read aloud? Not only ministers and public speakers, but even the best actors and public readers, often blur the most beautiful lines. How rarely do we find an Edwin Booth who can give the spirit of Shakespeare's blank verse! Few actors realize the pain they give to cultivated ears or to those who have the imagination and feeling to appreciate the expressiveness of the metric structure in the highest poetry. The development of a proper appreciation of metre is of great importance. Though the student should acquaint himself with the metric feet and the information conveyed in all the rhetorics and books on metre, still he has hardly learned the alphabet of the subject.