adaptation requisite for this, may be illustrated by a single example. Suppose a criminal character is to be played. He may be of a timid, suspicious, furtive type, or careless, jovial, and rollicking, or brazen and defiant, or sullen and gloomy, yet be a criminal in all. He may be portrayed in the stage of excitement under the interest of plot and pursuit, or in success and triumph, or in defeat and wrath, or in the shame and terror of detection, or in final remorse and despair. There is scarcely any end to the possibilities of variety, yet verisimilitude must be kept up and nature not violated. But we have as yet hardly hinted at the richness of the elements of the dramatic art and the scope of the knowledge and skill necessary for applying them. The aim of the dramatic art being the revelation of the characters and experiences of men, the question arises, By what means is this revelation effected? The inner states of man are revealed through outer signs. Every distinct set of outer signs through which inner states are made known constitutes a dramatic language. Now, there are no less than nine of these sets of signs or dramatic languages of human nature. The first language is forms. When we look on an eagle, a mouse, a horse, a tiger, a worm, a turtle, an alligator, a rattlesnake, their very forms reveal their natures and dispositions and habits. In their shapes and proportions we read their history. So with man. His generic nature, his specific inheritance, his individual peculiarities are signalized in his form and physiognomy with an accuracy and particularity proportioned to the interpreting power of the spectator. The truth is all there for the competent gazer. The actor modifies his form and features by artifice and will to correspond with what should be the form of the person whose character he impersonates. And _costume_, with its varieties of outline and color, constitutes a secondary province artificially added to the natural language of form. The second language is attitudes. Attitudes are living modifications of shape, or the fluencies of form. There are, for example, nine elementary attitudes of the feet, of the hands, of the toes, of the head, which may be combined in an exhaustless series. Every one of these attitudes has its natural meaning and value. All emotions strong enough to pronounce themselves find expression in appropriate attitudes or significant changes of the form in itself and in its relations to others. He who has the key for interpreting the reactions of human nature on the agencies that affect it, easily reads in the outer signs of attitude the inner states of defiance, doubt, exaltation, prostration, nonchalance, respect, fear, misery, or supplication, and so on.