exchange languages. One believes that he must feel the character he
plays, even to the shedding of real tears, while the other prefers
never to lose himself for an instant, and there is no doubt that they
both act with more effect by adhering to their own dogmas.

For myself, I know that I act best when the heart is warm and the head
is cool. In observing the works of great painters I find that they
have no conventionalities except their own; hence they are masters,
and each is at the head of his own school. They are original, and
could not imitate even if they would.

So with acting, no master-hand can prescribe rules for the head of
another school. If, then, I appear bold in putting forth my
suggestions, I desire it to be clearly understood that I do not
present them to original or experienced artists who have formed their
school, but to the student who may have a temperament akin to my own,
and who could, therefore, blend my methods with his preconceived
ideas.

Many instructors in the dramatic art fall into the error of teaching
too much. The pupil should first be allowed to exhibit his quality,
and so teach the teacher what to teach. This course would answer the
double purpose of first revealing how much the pupil is capable of
learning, and, what is still more important, of permitting him to
display his powers untrammeled. Whereas, if the master begins by
pounding his dogmas into the student, the latter becomes environed by
a foreign influence which, if repugnant to his nature, may smother his
ability.

It is necessary to be cautious in studying elocution and