The reading lesson proceeds as usual until some dramatic passage occurs. After it has been studied just as other parts of the lesson, two children are asked to read the directly quoted speeches, giving the situation and interpretation, so far as possible, through their voices. Occasionally a scene in which the speeches are given indirectly, or partly so, will offer excellent material for dramatic reading of this kind. In such cases, the children must turn the indirect discourse into direct, omitting, as explained above, superfluous matter. Following, for instance, is an example of indirect discourse and the same material as read by the children:

"I therefore ordered him instantly to go and bring some of those mussels to me, saying that I intended to eat them, but that he could in this respect please himself. He hereupon, after thinking a moment or two, got up to obey me, and walked away for this purpose; but I heard him, whilst occupied in the task, lamenting his fate most bitterly. It was true, he said, that he had not died either of hunger or thirst, etc."-Gray: Travels in Northwest and Western Australia.

This, turned into the dialogue form, becomes:

Sir George (With hand outstretched, speaking sternly): Go instantly and bring some of those mussels to me! I intend to eat them. You may in this respect please yourself.

Kaiber (Goes a little way apart, pretends to collect mussels, speaking bitterly to himself): It is true that I have not died of hunger or thirst, etc.

The pupils will, of course, not read the author's comment or descriptive matter, omitting that or giving the effect through interpretation.

Then follows, as a matter of course, a discussion by the class, usually very enthusiastic or easily made so, as to whether the speeches have been so read as to show the kind of person the speaker is, the way he felt, etc. Differences of opinion must be illustrated and thus compared, until, with the teacher's help, several shades of interpretation are given. By reference to the other parts of the story it is often possible for the class to decide pretty wisely concerning which reading is most effective.

Advantages

Taken so simply as this, dramatic work differs little from the ordinary class reading, except that it is apt to inspire much more interest and lead to a keener insight. It also gives the child something definite to do in that usually most indefinite of things, the preparation of the reading lesson. When practicable, children should be given some place about the school house, where, singly or in groups, they may rehearse orally their interpretation of the reading lesson. Some children, it is objected, cannot be trusted to study out of sight of the teacher. It is equally true, however, that some children should be so trusted-and held to account for results. After the novelty wears off, the right kind of encouragement and pressure will bring results.

Interpretative vs. Imitative

This so-called dramatic reading should be interpretative and suggestive, rather than imitative. It

is better for the pupil, by his reading and slight acting, to make the auditors imagine how the character looked than it is to look the part himself. Of the two extremes, it seems wiser to err on this side than to overdo the matter of imitation; though some teachers think otherwise, holding that eventually much of the exaggeration will fall away or be more wisely used. But most oral reading in life will bę of the suggestive kind, which, indeed, is harder to do perfectly than acting.

When one child interprets a part considerably better than his fellows, he should be given a kind of title to it, reading it when the story is reviewed for any purpose. Naturally one child will be better in a certain role than others are, and the recognition of his success is a fitting reward and stimulus to him and to the other members of the class to perfect other parts later on.

In this simple dramatic work, it is unnecessary to have any scenery or costumes. They would defeat rather than effect the very end of suggestiveness that is sought. Let the children feel their parts: the imagination will do the rest. A chair or similar article of furniture may be needed and used sometimes; but if any unusual article is required, a representative is better than the real article itself. A stick, for instance, would serve better in a scene where the king knights a subject than a real sword, though in most cases neither is really necessary. The world of make-believe is a most wonderful place,

supplying abundantly what the physical eye does not see!

Justifications

The pleasure and interest that result from such simple dramatic work more than justify it, though these are not the real ends sought. We use this method in order to insist that the pupil realize and appreciate in a literary way what he is reading. He cannot make us understand from his voice how the speaker in the story felt unless he has first found out for himself. And the very fact that he has a partner in the dialogue, that he has a fairly definite goal set for him, affords something that he may study and prepare for. The failure of pupils to study the assignments that are made by the teacher in reading and literature is not infrequently due to a lack of knowledge as to what they should study. If, through this dramatic reading, he gets into the habit of seeing or realizing what he reads about, it will immeasurably add to the pleasure that he ever afterward has from his reading, especially of literature.

Much of the success of this kind of reading depends upon the teacher's attitude toward it. It should be taken as a matter of course, undue preparation tending to make the children too conscious of themselves for the best results. It should be taken seriously, too, though not funereally. There are always children in all grades beyond the primary who are ready to giggle at and make a joke of anything

unusual. If they are permitted to attempt simple dramatization in this spirit, they not only can accomplish nothing themselves, but they also prevent the other children from entering easily into the land of make-believe. When there is anything amusing in the dramatic work, the laugh will come, and of course should come; but it is joyous laughter, with the actor, in harmony with what he is saying or doing, not the miserable, withering laugh of ridicule, which usually comes from those who are themselves most impotent. It is a shameful thing when it is permitted to prevent or to hinder honest effort of any kind. Yet a teacher who fails to get the point of view of the child that is reciting sometimes not only permits it, but even joins in such laughter himself. If the teacher is unable to get into the spirit of the reading, if he does not really enjoy the dramatic presentation of the lesson, probably he would better not attempt it at all.

Public Performances

Occasionally the simple class work becomes sufficiently good or interesting to warrant repeating before the rest of the school or a few invited friends. This is a particularly good way of concluding the work with some classic. One class, at least, after spending two months on "The Merchant of Venice,' read, with pleasure to themselves and the spectators at the regular class period, several of the scenes before the rest of the school and those parents whe cared to come. Another class gave several scenes