Such expressions as, "But, Mr. Frohman, this is my way of doing it," or "I feel it this way," and like manifestations of actors' conceit or argument would never be met with ridicule or contempt. Sometimes he would say, "Try it my way first," or "Do you like that?" or "Does this give you a better feeling?" He never said, "You _must_ do thus and so." He was alert to every suggestion. As a result he got the very best out of his people. It was part of his policy of developing the personal element. The genial human side of the man always softened his loudest tones, although he was seldom vehement. So gentle was his speech at rehearsals that the actors often came down to the footlights to hear his friendly yet earnest direction. Frohman had that first essential of a great dramatic director--a psychologic mind in the study of the various human natures of his actors and of the ideas they attempted to portray. He was an engaging and fascinating figure, too, as he molded speech and shaped the play. An old friend who saw him in action thus describes the picture: "Here a comedian laughs aloud with the comic quaintness of the director. There a little lady, new to the stage, is made to feel at home and confident. The proud old-timer is sufficiently ameliorated to approve of the change suggested. The leading lady trembles with the shock of realization imparted by the stout little man with chubby smile who, seated alone in the darkened auditorium, conveys his meaning as with invisible wires, quietly, quaintly, simply, and rationally, so as to stir the actors' souls to new sensibilities, awaken thought, and viviby(?) glow of passion, sentiment, or humor." At rehearsals Frohman usually sat alone about the tenth row back. He rarely rose from his seat, but by voice and gesture indicated the moves on his dramatic chess-board. When it became necessary for him to go on the stage he did so with alacrity. He suggested, by marvelously simple indications and quick transitions, the significance of the scene or the manner of the presentation. There was a curious similarity, in one respect, between the rehearsing methods of Charles Frohman and Augustin Daly. This comparison is admirably made by Frohman's life-long friend Franklin H. Sargent, Director of the American Academy of Dramatic Arts and the Empire School of Acting, in which Frohman was greatly interested and which he helped in every possible way. He said: