This may sound cold. It is not; it is merely a process of relieving superfluous nervous tension in acting, by which obstructions are removed so that real sympathetic emotions can be stronger and fuller, and perceptions keener. Those who get no farther than emotional vibrations of the nerves in acting, know nothing whatever of the greatness or power of true dramatic instinct. There are three distinct schools of dramatic art,--one may be called dramatic hysteria, the second dramatic hypocrisy. The first means emotional excitement and nervous exhaustion; the second artificial simulation of a feeling. Dramatic sincerity is the third school, and the school that seems most truly artistic. What a wonderful training is that which might,--which ought to be given an actor to help him rise to the highest possibility of his art! A free body, exquisitely responsive to every command of the mind, is absolutely necessary; therefore there should be a perfect physical training. A quick and keen perception to appreciate noble thoughts, holding each idea distinctly, and knowing the relations of each idea to the others, must certainly be cultivated; for in acting, every idea, every word, should come clearly, each taking its own place in the thought expressed. Broad human sympathies, the imaginative power of identifying himself with all phases of human nature, if he has an ideal in his profession above the average, an actor cannot lack. This last is quite impossible without broad human charity; for "to observe truly you must sympathize with those you observe, and to sympathize with them you must love them, and to love them you must forget yourself." And all these requisites--the physical state, the understanding, and the large heart--seem to centre in the expression of a well-trained voice,--a voice in which there is the minimum of body and the maximum of soul. By training, I always mean a training into Nature. As I have said before, if art is Nature illuminated, we must find Nature before we can reach art. The trouble is that in acting, more than in any other art, the distinction between what is artistic and what is artificial is neither clearly understood nor appreciated; yet so marked is the difference when once we see it, that the artificial may well be called the hell of art, as art itself is heavenly. Sincerity and simplicity are the foundations of art. A feigning of either is often necessary to the artificial, but many times impossible. Although the external effect of this natural training is a great saving of nervous force in acting, the height of its power cannot be reached except through a simple aim, from the very heart, toward sincere artistic expression. So much for acting. It is a magnificent study, and should be more truly wholesome in its effects than any other art, because it deals with the entire body. But, alas I it seems now the most thoroughly morbid and unwholesome.