Now, of what artifices can we make use to take the place of all the extraneous help offered to actors on the stage? First and foremost, as a means of suddenly pulling up the attention of the audience, is the judicious art of pausing. For those who have not actually had experience in the matter, this advice will seem trite and unnecessary, but those who have even a little experience will realize with me the extraordinary efficacy of this very simple means. It is really what Coquelin spoke of as a "high light," where the interest is focused, as it were, to a point. I have tried this simple art of _pausing_ with every kind of audience, and I have rarely know it to fail. It is very difficult to offer a concrete example of this, unless one is giving a "live" representation, but I shall make an attempt, and at least I shall hope to make myself understood by those who have heard me tell stories. In Hans Andersen's "Princess and the Pea," the King goes down to open the door himself. Now, one may make this point in two ways. One may either say: "And then the King went to the door, and at the door there stood a real Princess," or, "And then the King went to the door, and at the door there stood--(pause)--a real Princess." It is difficult to exaggerate the difference of effect produced by so slight a pause.[13] With children it means an unconscious curiosity which expresses itself in a sudden muscular tension. There is just time during that instant's pause to _feel_, though not to _formulate, the question: "What is standing at the door?" By this means, half your work of holding the attention is accomplished. It is not necessary for me to enter into the psychological reason of this, but I strongly recommend those who are interested in the question to read the chapter in Ribot's work on this subject, "Essai sur L'Imagination Creatrice," as well as Mr. Keatinge's work on "Suggestion." I would advise all teachers to revise their stories with a view to introducing the judicious pause, and to vary its use according to the age, the number, and, above all, the mood of the audience. Experience alone can insure success in this matter. It has taken me many years to realize the importance of this artifice. Among other means for holding the attention of the audience and helping to bring out the points of the story is the use of gesture. I consider, however, that it must be a sparing use, and not of a broad or definite character. We shall never improve on the advice given by Hamlet to the actors on this subject: "See that ye o'erstep not the modesty of Nature."