Serlo declared that he would overlook all subsequent rehearsals,--the last rehearsal itself,--if justice were but done to these rehearsals from the book. "For, commonly," said he, "there is nothing more amusing than to hear an actor speak of study: it is as if freemasons were to talk of building." The rehearsal passed according to their wishes; and we may assert, that the fame and favor which our company acquired afterwards had their foundation in these few but well-spent hours. "You did right, my friend," said Serlo, when they were alone, "in speaking to our fellow-laborers so earnestly; and yet I am afraid they will scarcely fulfil your wishes." "How so?" asked Wilhelm. "I have noticed," answered Serlo, "that, as easily as you may set in motion the imaginations of men, gladly as they listen to your tales and fictions, it is yet very seldom that you find among them any touch of an imagination you can call productive. In actors this remark is strikingly exemplified. Any one of them is well content to undertake a beautiful, praiseworthy, brilliant part; and seldom will any one of them do more than self-complacently transport himself into his hero's place, without in the smallest troubling his head whether other people view him so or not. But to seize with vivacity what the author's feeling was in writing; what portion of your individual qualities you must cast off, in order to do justice to a part; how, by your own conviction that you are become another man, you may carry with you the convictions of the audience; how, by the inward truth of your conceptive power, you can change these boards into a temple, this pasteboard into woods,--to seize and execute all this, is given to very few. That internal strength of soul, by which alone deception can be brought about; that lying truth, without which nothing will affect us rightly,--have, by most men, never even been imagined. "Let us not, then, press too hard for spirit and feeling in our friends. The surest way is first coolly to instruct them in the sense and letter of the play,--if possible, to open their understandings. Whoever has the talent will then, of his own accord, eagerly adopt the spirited feeling and manner of expression; and those who have it not will at least be prevented from acting or reciting altogether falsely. And among actors, as indeed in all cases, there is no worse arrangement than for any one to make pretensions to the spirit of a thing, while the sense and letter of it are not ready and clear to him." CHAPTER VIII.