All properties appeal to the eye, and it requires a careful management of light and a study of the stage picture to bring them into unity with the scene. But the reader of the monologue can have no such advantages. If unity in the literal representation of the stage is necessary, and cannot be won without great subordination, how much more is this needful in the presentation of a monologue, where the appeal is to the mind, and people are supposed to use not their eye, but their imagination, and even to supply a listener. The laws of consistency and suggestion, accordingly, require the elimination or very careful subordination of properties and scenery in the presentation of the monologue. Whenever one thing is carried beyond the limit of suggestiveness or the degree of realistic representation possible in all directions, the effect is one-sided. The necessity of subordinating properties and make-up in the monologue is shown by the fact that they are more permissible in those of a very low type or in the burlesque or the farce. Dramatic elements and actions need to be emphasized by the interpreter of a monologue. The actor can "take the stage" or give it up to another, but this is impossible in a monologue. The interpreter on a platform has no one to hold the stage while he falls. He can only suggest all the actions and relations of character to character. He cannot make the same number of movements, or turn so far around or walk so great a distance, or make such a literal portrayal of objects as is possible on a stage. The monologue must centre expression in the face, eyes, and action, and in the pictures awakened in the minds of the hearers, not in mere accidents or properties. I have seen a prominent reader bend over at the hip and lean on a cane, so that his face could not be seen by the audience, and people were expected to accept this monstrosity as an old man. One among twenty thousand old men might be bent over in this way, but then he could never talk as this reader talked. Certainly such action was foreign to the intention of his author and the spirit of his selection, as well as to the spirit of art. Face and body must be seen in order to fully understand language, and no accidental must be so exaggerated as to interfere with a definite, artistic accentuation of that which is necessary to the meaning and expressive presentation of the whole. In general, let the reader beware of accidentals, and in every case, as much as possible, emphasize the fundamentals. XV. FAULTS IN RENDERING A MONOLOGUE Many faults in the rendering of a monologue have been necessarily suggested in the preceding discussion. There are some, however, which have been but barely referred to, that possibly need some further attention.