Where are we to get these plays, since there are practically none of respectable literary quality ready to our hand? One must say "practically none," because there are a few in print which can be used, chiefly dramatizations of folk- and fairy-tales. But, for the most part, and just as it should be, the teacher and the class will have to make their own plays, until in the eighth grade or thereabouts they are ready for some literary drama. As will be pointed out later, these co-operatively produced dramas constitute the best possible return which the children can make of their literary training, and at the same time the best possible means of securing their apprehension of the story they use; since in recasting a story as a play they will come to know it as plot, as activity of persons, and as a structure made up of essential parts. Almost the first thing the child sees is the fact that there is something organic and necessary about these divisions and subdivisions. He sees them separate themselves out from the narrative as things in themselves, and then reunite to form a complete whole again. It matters not whether the story be one that he has been taught, a historical episode, or a story invented by himself, the emphasis upon structure, upon organization, which is one of the elements of drama, will be helpful, as a matter of literary training. As to the dialogue--the actual literature of this communal drama--we must be most indulgent, and on the whole uncritical. A marked peculiarity of the dramatizations of the little people, as indeed of those of their elders, is that they forget to be literature at all, so that what is not dumb-show must be set down as noise. It is a troublesome and delicate task for the teacher who is guiding them to manage to give the dialogue a tone better than mere commonplace and different from mere bombast. It is wisest, on the whole, to get them to choose stories and events that will sway their dialogue toward the bombastic and away from the commonplace; they will certainly be more spontaneous, and probably more artistic. And it is easy to set into every play some genuine gem of literature--a lyric to be sung, a little story to be told. It is desirable to introduce as much music as possible--really artistic little songs that fit into the atmosphere of the play and help to create it; it makes better "team-work." A dance too, always provided it harmonizes with the tone and spirit of the play, helps the feeling of co-operative production. The children's acting, in the sense of gesture and stage-business, is very likely to be stiff and artificial. Marches and dances that belong in the play make an imperative call for movement, and accustom them to action without self-consciousness and formality.