The monologue must not be stagy. It should possess the quiet simplicity, the long pauses, the abrupt movement, the animated changes in pitch, and the simple intensity which belong to conversation. The Italian in England would remember and feel again the excitement of danger, and gratitude for delivery; but he would not employ descriptive gestures and declamatory presentation as if delivering an oration. An important error to be avoided in rendering a monologue is monotony or inflexibility. A monologue is more suggestive than any other form of literature, for it implies sudden exclamations and abrupt transitions. The ideas and feelings are often hardly hinted at by the writer. There is not only greater difficulty in realizing the continuity of ideas and meaning, but a greater necessity for abrupt changes of voice than in any other mode of expression. The reader of the monologue must suggest the impressions produced upon him, the hidden causes, the unreported words of another character, and at the same time a distinct and definite imaginative situation. Hence, the rendering of a monologue requires the greatest possible accentuation of the processes of thinking and feeling and the most delicate transitions of ideas. An impression produced by a mere look must be definitely revealed by the interpreter. We thus see the necessity for the employment of great flexibility of voice and of body, and especially the exercise of versatility of the mind. The interpreter must have a sympathetic temperament, and must be able to accentuate and sustain the simplest look, the most delicate inflection and change of pitch, and to modulate the color and movement of his voice with perfect freedom. To read a monologue on one pitch completely perverts its spirit. Monotony is a bad fault in rendering all forms of literature, but it is possibly worse in the monologue on account of the peculiarly broken and suggestive character of that form of writing. All the elements of conversation must be not only realized, but emphasized. The reader must be able to make some of these so salient as to reveal the very first initiation of an idea; otherwise, the real point may be lost. The thought must be made clear at all hazards. The monologue must not be tame. Because it is printed in such regular lines the suggestive character may be lost, and the words simply presented as in a story or essay. There is a great temptation to give the feeling with the personal directness of the lyric story or essay. The monologue requires extreme definiteness and decision in the conception of character and feeling, and every point must be made salient.