probability, somewhere in the book, given a fairly detailed, exact description of the looks and actions of these characters.  If such a description does not occur in an extended passage, there is likely to be a series of statements scattered about, from which a reader builds up an idea of what the character is like.  The pupil who intends to represent a person from a book or poem must study the author’s picture to be able to reproduce a convincing portrait.

The audience will pass over mere physical differences.  A young girl described in a story as having blue eyes may be acted by a girl with brown, and be accepted.  But if the author states that under every kind remark she made there lurked a slight hint of envy, that difficult suggestion to put into a tone must be striven for, or the audience will not receive an adequate impression of the girl’s disposition.

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 analyze 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 passages from books to present before the class is that the lines shall have some point.  Conversation in a story is introduced for three different purposes.  It illustrates 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 space 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 passages 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 passed in deliberation and quiet.