The presentation of a play or of a monologue is its fulfilment, its completion, expressing more fully the conceptions which were in the mind of the writer himself, though with the individuality and the true personal realization of another artist. No two Hamlets have ever been alike, nor ever can be alike, unless one of the two is an imitation of the other. Dramatic art implies two artists,--the writer, who gives broad outlines and suggestions; and the living, sympathetic dramatic interpreter, who realizes and completes the creation. The author creates a poem and puts it into words, and the vocal interpreter then gives it life. A true vocal interpretation of the monologue, as of the play, does not require the changing of one word or syllable used by the author. It is the supplying of the living languages. Words and actions are complemental languages. Verbal expression is more or less intellectual. It can be recorded. It names ideas and pictures. It is composed of conventional symbols, and only when the words are understood by another mind can it suggest a true sequence of ideas and events. Vocal expression, however, shows the attitude of the mind of the man towards these ideas. Words are objective symbols of ideas. The modulations of the voice reveal the process of thinking and feeling. The word, then, in all cases, implies the living voice. It is but an external form: the voice reveals the life. Action shows, possibly, even more than tones do, the character of the man, his relations, his "bearings," his impressions or points of view. These three languages are, accordingly, living witnesses. One of them is not complete, strictly speaking, without the others, and the artistic rendering of a monologue is simply taking the objective third which the author gives, and which can be printed, and supplying the subjective two-thirds which the imagination of the reader must create and realize from the author's suggestion. All printed language is but a part of one of these three languages, which belong together in an organic unity. In the very nature of the case, the better the writing, the greater the suggestion of the modulations of voice and body. The highest literature is that which suggests life itself, and a living man has a beaming eye, a smiling face, a moving body, and a voice that modulates with every change in idea and feeling. No process has ever been able to record the complexity of these natural languages. Their co-ordination depends upon dramatic instinct. As the play always implies dramatic action, as the mind must picture a real scene and the characters must move and speak as animated beings before there can be the least appreciation of its nature as a play, so the monologue also implies and suggests a real scene or moment of human life.