The Classic School modulates from the idea of grandeur or dignity; its aim is to set unity in relief, and its attribute is power in repose. The Romantic School modulates from the idea of effectiveness; its aim is to set the contrasts of variety in relief, and its attribute is power in excitement. The Natural School modulates from the idea of sincerity; its aim is to set reality in relief, exhibiting both unity in variety and variety in unity, and its attribute is alternation of power in repose and power in excitement, according to the exigencies of character and circumstance. The Artistic School modulates from the idea of truth; its attributes are freedom from personal crudity and prejudice, liberation of the faculties of the soul and the functions of the body, and an exact discrimination of the accidental and the individual from the essential and the universal; and its aim is to set in relief in due order and degree every variety of character and experience, every style and grade of spiritual manifestation, not as the workings of nature are made known in any given person however sincere, but as they are generalized into laws by a mastery of all the standards of comparison and classification. Sincerity is individual truth, but truth is universal sincerity. “Why do you enact that part in Macbeth as you do?” asked a friend of Forrest. “Because,” he replied, “that is the way I should have done it had I been Macbeth.” Ah, but the question is not how would a Forrestian Macbeth have done it, but how would a Macbethian Macbeth do it? The sincere Natural School of acting is hampered by the limiting of its vision to the reflections of nature in the refracting individuality of the actor. The true Artistic School purifies, corrects, supplements, and harmonizes individual perceptions by that consensus of averages, or elimination of the personal equation, which dispels illusions and reveals permanent principles.