In long stories there are many scenes; it may be that no two incidents happen in the same place. In the drama, which contains all the elements of the story, the scenes are limited in number, are fixed and unchanging and after the reader has arranged his scenery he may give his attention exclusively to the dialogue because he knows there will be no change in the scene. In the story the reader may need to be constantly alert, as when his hero takes a long and perilous journey the scenes may change with the quickness of a kaleidoscope, and yet all be important to the narrative. The more complex the story, the greater the variety in scene, and consequently the greater the opportunities for study. It is interesting work for children to pick out the scenes, to count them and then to compare them. Some of them are more vividly portrayed than others. Why? Some are more important as descriptions, and some because of the incidents occurring in them. Sometimes, especially in speaking of the drama, the word _scene_ is applied not only in its literal sense, but also to include not merely the place but the incidents that happen in the place, as well. For instance, we may say, "The quarrel between Brutus and Cassius is a wonderful scene in _Julius Cæsar_." Again, the word is used sometimes to mark the division of a play, as when we speak of the second scene in the first act of _Macbeth_. For our purposes, however, in our early reading with children, let us use it to signify only the place where events happen. An author may tell us at the beginning of a story that the scene is laid in London, or in Calcutta, or in the Black Forest; but unless he employs some method of giving a vivid impression of the setting of the story, we soon lose sight of locality. Sometimes, of course, it is not necessary that we should remember the place--the story moves on independent of scene; but other stories depend in part for their interest and even for their plot upon their setting. In such cases, the author, by reference to the natural features characteristic of a region, or to the peculiar traits or mannerisms or turns of speech of his characters, keeps before us the place in which the scene is laid. Such peculiarities of a place or its inhabitants, when introduced into a story, are given the name of local coloring. In _A Christmas Carol_ (Volume VI, page 244), Dickens meant that we should be conscious throughout not only of a Christmas atmosphere, but of an _English_ Christmas atmosphere. The references to the Christmas feeling are too obvious to require pointing out, but the methods by which the author makes us conscious that we are in London do not show so clearly at first sight. By a study of the paragraph which begins in the middle of page 253, and of the one immediately following it, we may get some idea of these methods.