Thomas Edward Brown, Master at Clifton College:

"My earliest recollection is that his was the most vivid teaching I
ever received; great width of view and poetical, almost passionate,
power of presentment. We were reading Froude's History, and I shall
never forget how it was Brown's words, Brown's voice, not the
historian's, that made me feel the great democratic function which the
monasteries performed in England; the view became alive in his mouth."
And in another passage: "All set forth with such dramatic force and
aided by such a splendid voice, left an indelible impression on my
mind."[5]

A second experiment, and a much more subtle and difficult one, is to
take the same group of children on another occasion, telling them a
story in pantomime form, giving them first the briefest outline of the
story. In this case it must be of the simplest construction, until the
children are able, if you continue the experiment, to look for
something more subtle.

I have never forgotten the marvelous performance of a play given in
London many years ago entirely in pantomime form. The play was called
"L'Enfant Prodigue," and was presented by a company of French artists.
It would be almost impossible to exaggerate the strength of that
"silent appeal" to the public. One was so unaccustomed to reading
meaning and development of character into gesture and facial expression
that it was really a revelation to most of those present--certainly to
all Anglo-Saxons.

I cannot touch on this subject without admitting the enormous dramatic
value connected with the cinematograph. Though it can never take the