elings
and ideas, not to bind them in rigid fetters. The accents of pleasure
are different from the accents of pain, and if a feeling is more
accurately expressed, as in nature, by a variation of sound not
provided for by the laws of pronunciation, then such imperfect laws
must be disregarded and nature vindicated. The word should be the echo
of the sense.

The force of an actor depends, of course, upon his physique; and it is
necessary, therefore, that a good deal of attention should be given to
bodily training. Everything that develops suppleness, elasticity, and
grace--that most subtle charm--should be carefully cultivated, and
in this regard your admirable gymnasium is worth volumes of advice.
Sometimes there is a tendency to train the body at the expense of
the mind, and the young actor with striking physical advantages
must beware of regarding this fortunate endowment as his entire
stock-in-trade. That way folly lies, and the result may be too dearly
purchased by the fame of a photographer's window. It is clear that
the physique of actors must vary; there can be no military standard
of proportions on the stage. Some great actors have had to struggle
against physical disabilities of a serious nature. Betterton had an
unprepossessing face; so had Le Kain. John Kemble was troubled with
a weak, asthmatic voice, and yet by his dignity, and the force of
his personality, he was able to achieve the greatest effects. In some
cases a super-abundant physique has incapacitated actors from playing
many parts. The combination in one frame of all the gifts of mind and
all the advantages in person is very rare on the stage; but talent
will conquer many natural defects when it is sustained by energy and
perseverance.

With regard to gesture, Shakespeare's advice is all-embracing. "Suit
the action to the word, the word to the action, with this special
observance that you over-step not the modesty of nature." And here
comes the consideration of a very material part of the actor's
business--by-play. This is of the very essence of true art. It is more
than anything else significant of the extent to which the actor has
identified himself with the character he represents. Recall the scenes
between Iago and Othello, and consider how the whole interest of the
situation depends on the skill with which the gradual effect of the
poisonous suspicion instilled into the Moor's mind is depicted in look
and tone, slight of themselves, but all