So, too, in male characters. A boy who plays old Scrooge in _A Christmas Carol_ may not be able to look like him physically, but in the early scenes he must let no touch of sympathy or kindness creep into his voice or manner.

It is just this inability or carelessness in plays attempting to reproduce literary works upon the stage that annoys so many intelligent, well-read people who attend theatrical productions of material which they already know. When _Vanity Fair_ was dramatised and acted as _Becky Sharp_, the general comment was that the characters did not seem like Thackeray's creations. This was even more apparent when _Pendennis_ was staged.

If you a.n.a.lyze and study characters in a book from this point of view you will find them becoming quite alive to your imagination. You will get to know them personally. As you vizualize them in your imagination they will move about as real people do. Thus your reading will take on a new aspect of reality which will fix forever in your mind all you glance over upon the printed page.

Climax. The second thing to regard in choosing pa.s.sages from books to present before the cla.s.s is that the lines shall have some point.

Conversation in a story is introduced for three different purposes. It ill.u.s.trates character. It exposes some event of the plot. It merely entertains. Such conversation as this last is not good material for dramatic delivery. It is hardly more than s.p.a.ce filling. The other two kinds are generally excellent in providing the necessary point to which dramatic structure always rises. You have heard it called a climax. So then you should select from books pa.s.sages which provide climaxes.

One dictionary defines climax: "the highest point of intensity, development, etc.; the culmination; acme; as, he was then at the climax of his fortunes." In a play it is that turning-point towards which all events have been leading, and from which all following events spring. Many people believe that all climaxes are points of great excitement and noise. This is not so. Countless turning-points in stirring and terrible times have been in moments of silence and calm. Around them may have been intense suspense, grave fear, tremendous issues, but the turning-point itself may have been pa.s.sed in deliberation and quiet.

EXERCISES

1. Choose from cla.s.s reading--present or recent--some pa.s.sage in conversation. Discuss the traits exhibited by the speakers. Formulate in a single statement the point made by the remarks. Does the interest rise enough to make the pa.s.sage dramatic?

2. Several members of the cla.s.s should read certain pa.s.sages from books, poems, etc. The cla.s.s should consider and discuss the characterization, interest, point, climax.

3. Read Chapters VI and VII of _Silas Marner_ by George Eliot. Are the characters well marked? Is the conversation interesting in itself?

Does the interest rise? Where does the rise begin? Is there any suspense? Does the scene conclude properly? If this were acted upon a stage would any additional lines be necessary or desirable?

4. Read the last part of Chapter XI of _Silas Marner_. What is the point?

5. Memorize this dialogue and deliver it before the cla.s.s. Did the point impress the cla.s.s?

6. Consider, discuss, and test pa.s.sages from any book which the members of the cla.s.s know.

7. Present before the cla.s.s pa.s.sages from any of the following:

d.i.c.kens _A Christmas Carol_ _A Tale of Two Cities_ _David Copperfield_ George Eliot _Silas Marner_ _The Mill on the Floss_ Scott _Ivanhoe_ _Kenilworth_ _The Lady of the Lake_ Mark Twain _Huckleberry Finn_ _The Prince and the Pauper_ O. Henry _Short Stories_ Thackeray _Vanity Fair_ _Henry Esmond_ _Pendennis_ Kipling _Captains Courageous_ _Stalkey and Co_.

Hugo _Les Miserables_ Tennyson _Idylls of the King_ _The Princess_ Arnold _Sohrab and Rustum_ Stevenson _Treasure Island_ Gaskell _Cranford_ Carroll _Alice in Wonderland_ Kingsley _Westward Ho!_ Barrie _Sentimental Tommy_

Characters in Plays. In acting regular plays you may find it necessary to follow either of the preceding methods of characterization. The conception of a character may have to be supplied almost entirely by some one outside the play. Or the dramatist may be very careful to set down clearly and accurately the traits, disposition, actions of the people in his plays. In this second case the performer must try to carry out every direction, every hint of the dramatist. In the first case, he must search the lines of the play to glean every slightest suggestion which will help him to carry out the dramatist's intention.

Famous actors of characters in Shakespeare's plays can give a reason for everything they show--at least, they should be able to do so--and this foundation should be a compilation of all the details supplied by the play itself, and stage tradition of its productions.

In early plays there are practically no descriptions of the characters. Questions about certain Shakespeare characters will never be solved to the satisfaction of all performers. For instance, how old is Hamlet in the tragedy? How close to madness did the dramatist expect actors to portray his actions? During Hamlet's fencing match with Laertes in the last scene the Queen says, "He's fat, and scant of breath." Was she describing his size, or meaning that he was out of fencing trim?

Shakespeare puts into the mouth of Julius Caesar a detailed description of the appearance and manner of acting of one of the chief characters of the tragedy.

Let me have men about me that are fat; Sleek-headed men and such as sleep o' nights: Yond Ca.s.sius has a lean and hungry look; He thinks too much: such men are dangerous.

Would he were fatter! But I fear him not: Yet if my name were liable to fear, I do not know the man I should avoid So soon as that spare Ca.s.sius. He reads much; He is a great observer, and he looks Quite through the deeds of men; he loves no plays, As thou dost, Antony; he hears no music; Seldom he smiles, and smiles in such a sort As if he mock'd himself and scorn'd his spirit That could be mov'd to smile at any thing.

In _As You Like It_ when the two girls are planning to flee to the forest of Arden, Rosalind tells how she will disguise herself and act as a man. This indicates to the actress both costume and behavior for the remainder of the comedy.

Were it not better, Because that I am more than common tall, That I did suit me all points like a man?

A gallant curtle-axe upon my thigh, A boar-spear in my hand; and--in my heart Lie there what hidden woman's fear there will-- We'll have a swashing and a martial outside, As many other mannish cowards have That do outface it with their semblances.

In many cases Shakespeare clearly shows the performer exactly how to carry out his ideas of the nature of a man during part of the action.

One of the plainest instances of this kind of instruction is in _Macbeth_. The ambitious thane's wife is urging him on to murder his king. Her advice gives the directions for the following scenes.

O never Shall sun that morrow see!

Your face, my thane, is as a book where men May read strange matters. To beguile the time, Look like the time; bear welcome in your eye, Your hand, your tongue: look like the innocent flower, But be the serpent under't. He that's coming Must be provided for: and you shall put This night's great business into my dispatch; Which shall to all our nights and days to come Give solely sovereign sway and masterdom.

Modern dramatists are likely to be much more careful in giving advice about characterization. They insert a large number of stage directions covering this matter. Speed of delivery, tone and inflection, as well as underlying feeling and emotion are minutely indicated.

d.u.c.h.eSS OF BERWICK

Mr. Hopper, I am very angry with you. You have taken Agatha out on the terrace, and she is so delicate.

HOPPER

[_At left of center_] Awfully sorry, d.u.c.h.ess. We went out for a moment and then got chatting together.

d.u.c.h.eSS

[_At center_] Ah, about dear Australia, I suppose?

HOPPER

Yes.

d.u.c.h.eSS

Agatha, darling! [_Beckons her over._]

AGATHA

Yes, mamma!

d.u.c.h.eSS

[_Aside_] _Did Mr. Hopper definitely--_

AGATHA

Yes, mamma.

d.u.c.h.eSS

And what answer did you give him, dear child?

AGATHA

Yes, mamma.

d.u.c.h.eSS

[_Affectionately_] My dear one! You always say the right thing. Mr. Hopper! James! Agatha has told me everything. How cleverly you have both kept your secret.