Says O’Shea: “Every personality he assumes stretches his own in one direction or another, enriches it perhaps, or at least broadens it. Through personation one gets the point of view of others; he discovers how it feels in a broad sense to do as they do, and is put in a way to sympathize with them. Again, when the child creates an environment, and then reacts upon it, he is really pre-adjusting himself to that environment.” The child who engages in dramatic expression not only visualizes more clearly, but more practically. “A child with imagination,” as Mrs. Gruenberg says, “can picture to himself what he is expected to do, and easily translates his instructions into action. To the unimaginative child the directions given will be so many words, and he cannot carry out his instructions so effectively.” This resourcefulness is important. It is the unimaginative child who is always wailing, “What shall I do now?” The child who plays dramatically can _be_ whatever he likes, and _have_ whatever he likes, and always has something to do. And in later life it stands to reason that it will be the men and women who have habitually seen with their imaginations, who have visualized unexpected situations, who will display “faculty” and effectiveness. This is real education. The dramatic instinct brings out a number of traits of very great value. It develops initiative and ingenuity and resourcefulness. It helps make clear the difference between the imaginary and the real. It helps one to acquire unconsciousness of self, grace of demeanor and the correct use of the voice. It develops the power of action in groups and of ready and unselfish cooperation. It relates itself to English, elocution, drawing, and shop work, and is as important in its inspiring effect upon craftsmanship, in the making of costumes, scenery, and stage effects, as upon the acting itself. The portrayal of scenes from polite life helps politeness, and to imitate a courteous character tends toward the habit of courtesy. “A book on manners and customs will be little used until the child needs the information which it contains to portray some character.” An interest in literature may first be aroused through the stimulation of the dramatic instinct. Robert Browning, in his poem “Development,” tells how his father, by acting out with him the story of the Iliad, and then suggesting that he might himself find out more about it through reading such and such a book in the library, aroused in him the intense love of the classics which was his through life.