In Utopia "acting" is a vital part of the school life of every class, and every subject that admits of dramatic treatment is systematically dramatised. In History, for example, when the course of their study brings them to a suitable episode, the children set to work to dramatise it. With this end in view, they consult some advanced text-book or historical novel or other book of reference, and having studied with care the particular chapter in which they are interested, and having decided among themselves who are to play what parts, they proceed to make up their own dialogues, and their own costumes and other accessories. They then act the scene, putting their own interpretation on the various parts, and receiving the stimulus and guidance of Egeria's sympathetic and moeutic criticism. Their class-mates and the rest of the children in the main room look on, with their history books open in front of them, and applaud; and, by gradually familiarising themselves with the various parts, qualify themselves half-unconsciously to act as under-studies in the particular scene, and in due course to play their own parts as interpreters of some other historical episode. I know of no treatment of history which is so effective as this for young children. The actual knowledge of the facts of history which a child carries away with him from an elementary school cannot well be large, and is, in many cases, a negligible quantity. But the child who has once acted history will always be interested in it, and being interested in it will be able, without making a formal study of it, to absorb its spirit, its atmosphere, and the more significant of its facts. Nor do the advantages of the dramatic treatment of history end with the subject itself. The actors in these historical scenes are, as I have said, expressing their own interpretation of the various parts, and their own perception of the meaning of each episode as a whole. This means that they are training their imaginative sympathy,--a sovereign faculty which of all faculties is perhaps the most emancipative and expansive,--and training it, as I can testify, with striking success; for the dramatic power which they display is remarkable, and can have been generated by nothing less than sympathetic insight into the feelings of the various historical personages and the possibilities of the various situations.