The dramatization and acting of any bit of literature that yields to this process is in many ways the most satisfactory return we can ask. In a previous chapter much has been said about the various dramatic settings and accompaniments of literature. From the treatment of rhymes and jingles as suggestions for games and plays, on through the genuine dramatization of a story, to the presentation of _The Merchant of Venice_ or some other developed literary drama, the teacher should forward as much as possible this mode of calling out the children. They must, of course, be guided by the teacher in the choice of a story for dramatization, seeking one that has clearly marked movements, some distinct events, a pretty well-rounded plot, occasion for dialogue, and other dramatic possibilities. The class may early be guided to the division of the story into its natural acts and scenes, which implies the omission of superfluous incidents and details. The difficulty comes in the supplying of the actual dialogue. The resourceful teacher will secure this dialogue by various means; for some of the scenes it will flow off without effort from the class in lesson assembled, one child suggesting a remark, another the reply, these being recorded and criticized by the class. For certain other scenes the dialogue may be prepared by groups of two or more children working apart from the class. For certain crucial and lofty scenes the teacher should make the "book." The whole must be submitted for discussion in the class, and may in the end call for considerable revision from the teacher; for the younger children cannot be expected to know and to meet the demands of dramatic dialogue--it must not only be speech, and fairly good as conversation, but it must forward the play with every sentence. Of course, this revision must never be so sweeping as radically to remake the play, or even to alter the essential character that the children have given it, no matter how crude it may seem to the teacher and to other mature persons who hear it. Let it stand as a bit of child-art, just as we rejoice to let crude productions stand as folk-art. Of course, when the older children present a literary play or any part of it, they must memorize and give it conscientiously as it is written. Indeed, the rendering with understanding and appreciation, of whatever they have learned of good and beautiful literature is, after all, the most satisfactory and natural return. If even in high school we asked this of the children, instead of those themes of crude or stale literary criticism which we all too often get, great would be the gain in freshness, in sincerity, in appreciation, and in ultimate taste.