Each day marks another milestone in the progress of the drama. We have only to look back to the accepted products of ten years ago to see the obviousness of this truth. What was once the sacred domain of the special writer or the divinely endowed dramatist is now the province of all. Play-writing to-day is an open field. Such being the case, a better knowledge of the principles of play construction is fully in step with the march of its progress.

If the drama of to-morrow is to be better, purer and more truly representative, this increased universal interest in it demands a clearer conception and a more perfect understanding of its fundamental truths.

We can give some time and thought to it n the public schools. It has in some cases been made part of the regular work in English. There is room for its improvement and extension. Those pupils who show an early grasp and a special fitness for the work may be encouraged. Let the children find themselves.

The plays constructed by pupils and teachers may be made part of the regular classroom work in composition, and not merely an outside interest. These plays may be original in plot and dialog, or may be the dramatization of stories studied in the classroom or read out of school. Personal incidents and motion pictures make good plot material and serve additionally as a motive.

But tho the work of the pupil be elementary, he should frequently be reminded that any good story has one incident which is of greater interest than all others. In other words, his attention should be directed to the climax of the story. He should be made to feel that all other incidents lead up to this main point of interest, and that it is to the playwright what the cornerstone is to the foundation of a building.

It will not be necessary for the pupil to be very far advanced to realize the functions of the introduction and conclusion, nor is it wrong to make use of these technical terms. In fact, if their purpose is clear, they will be found very helpful. As the pupils advance, more may be said of the form and technique of the drania.

Not everything presented in the school assembly is truly dramatic in form. This, perhaps, is not necessary. At first if the form of entertainment shows feeling and interest we can for the time accept it as material for presentation. In fact, a great many stories and incidents do not allow for absolute technical dramatization. The change to dramatic form of biography such as Benedict Arnold, Nathan Hale, for instance, is not feasible. Stories having a series of events that may be logically arranged to make good plot structure are to be preferred.

In dramatizing a story, it should be considered first as a whole, because only then is it possible to view it in its proper perspective. In this way we can eliminate those parts which, tho desirable and perhaps essential in narrative, are superfluous in dramatic form. We must not hesitate to omit that which is not vitally essential to the development of the action. The pupil may be permitted to use as far as possible the dialog of the story he is dramatizing or to change it to suit himself. It should be pointed out, however, that parts written in narrative form in the third person are not dialog; they must be made dramatic.

The

In constructing original plays, a play or story may be used as a type, or a suggestion may be given by the teacher with stress laid on the climax. It has been found helpful in this connection to draw two oblique intersecting lines to illustrate the rise and fall of the action. apex or point of intersection, it may be explained, is the culminating point of interest. This should be done simply and briefly. The purpose of laying so much stress upon the climax is to emphasize the importance of first imagining the story or plot as a whole and to help preserve unity.

Discussion or comment should be induced upon the main characteristics of the dramatis persona. Wherever possible, types should be differentiated. In elementary work, the characters should be made to stand out with particular vividness, and should be made strongly positive or negative.

The pupil will almost always observe the difference between the good fairy and the evil witch, or the difference of characteristics between the wolf and the lamb.

The budding playwright should be reminded that his characters must talk appropriately and consistently. King Midas, Marigold, or the Thunder and Zephyr, being distinctly different, will converse accordingly.

Most of the play construction in schools has hitherto been done by the teacher. It is hoped that more will now be shared with the children. To the teacher, however, we suggest that he become fully acquainted with the fundamental principles of dramatic technique. We recommend Freytag's treatise on the subject as a standard work, or that of Miss Woodbridge. There are also current several publications, reviewing technically the modern productions, which also express the latest thought on the subject. These offer, besides, some very valuable suggestions. "The Dramatist" we specially recommend.

It is very helpful in constructing a play to write out first the story or plot. The narrative

helps arrange the incidents in logical form and in coherent succession.

The teacher's work is expected to serve as a model. He must observe strictly the unity of action. This should guide him in criticizing the work of his pupils. Let him confine himself to one story. Adherence to unity of time and place is a matter of discretion and necessity, tho these lesser unities are observed more frequently in present productions.

As a test whether or not his play is logical he should try to resolve his plot to proposition form, thus:

First premise-Conditions. The grasshopper dances all summer. The ant labors.

Second premise-Cause. The grasshopper is refused some of the ant's store of food in winter.

Third premise-Conclusion. The grasshopper must dance all winter.

A series of lessons in the following order produced excellent results:

1. Drill on direct quotations and dialogoral and written.

2. Study of anecdote for main point and dialog.

3. Study of story with plot-Introduction; rising action; increased interest. ClimaxFalling action; continued interest; conclusion noted.

4. Fable read and discussed; characters studied; oral reproduction, omitting explanatory phrases; direct quotations only; parts may be taken by different pupils.

5. Dramatic form and terms explained by teacher. e.g., (1) Name of play. (2) Characters. (3) Scenes. (4) Dialog, etc. AntHow do you?, etc. Terms-Exit, enter, etc.

6. Writing of play by pupils.

7. Substitution of human beings for animals; retaining moral of theme of story. (This when pupils are proficient in the other.)

8. Original work; individual topics; picture suggestions.

The following are examples of play construction by boys in Grade 6A:

The Ant and the Grasshopper

Characters

1. The Ant.

2. The Grasshopper.

SCENE I.-A HILL-ONE SUMMER'S DAY Discovered: The Ant and Grasshopper talking. Grasshopper.-You foolish ant, why do you work so hard? Come out and play with me. Let us sing and frolic all day.

Ant. Do you call me foolish for working? What shall I do in winter when it is too cold to work?

Grasshopper.-Oh, but it is not winter yet. Ant. You shall regret that you are not working now.

Lion.-Now for a good sleep. I shall at last rest my weary limbs.

Mouse.-Ah, I see a piece of cheese. It is near the lion's paw.

The mouse crawls near the lion's paw and is caught. Lion. You little rascal, how dare you disturb my peaceful slumbers!

Mouse. Please let me go! I did not mean to disturb you.

Lion. No! no! I am going to kill you! Mouse. If you will only let me go and save my life, I will save yours sometime.

Lion.-Ha, ha, you little fool. How can you save my life? You aren't half as big as one of my paws, but all right, I will let you go this time.

Mouse (happily).—Thank you, thank you. Lion. But don't forget your promise. Goodbye.

Mouse.-Good-bye.

SCENE 2-IN A NICELY FURNISHED ROOM Mr. Phillips.-Come, John, let us have a hunt. John. All right, Father, I will get the guns. Exit John. Re-enter with guns.

John. It is a very nice morning, a-Father! Father! There is a lion asleep!

Mr. Phillips.-Get the net quick, John. John. Throw the rope and pull the string quick, before it is too late.

Mr. Phillips.-At last we have the rascal. This will put an end to his evil tricks.

Lion. In his own language I will repay him the kindness he has shown me.

Exit lion. Androcles falls asleep. Hears noise, looks around, is surrounded by troops.

King.-Now, my slave, you are in my power again. Bind him, my men.

Androcles.-Oh, let me go.

King. I will put you in my arena to fight with one of my new lions. He has not eaten for six days. He will chew you up alive. Androcles.-Alas! there is no escape.

1. Wood.

2.

3.

Kindling woods, rich in resin.

Pine. Hemlock. Spruce.

Shavings (waste from carpentry). Sawdust (waste from saw-mills). Charcoal.

Peat and muck.

4. Coals and coal products.*

Coal gas.
Oil gas.
Acetylene gas.

Producer gas.

6. Petroleum* and its products.

Gasolene. Kerosene.

Fuel oils.

1. The use of wood for fuel has been superseded by coal and natural gas in all cities. In rural districts wood is still a standard fuel. Resinous woods, such as pine, hemlock, and spruce, make good kindling material, but owing to the rapidity of their combustion they are not good for general heating. Oak, beech, maple, and birch are among the best for fuel. Birch logs make a beautiful fire in open fireplaces.

2. Charcoal was formerly much used in braziers. It is still used in forges, corn poppers, peanut roasters, and elsewhere where a hot, smokeless, ashless fire is desired.

3. Peat is much used in Ireland, where it is cut out of the bogs and dried for fuel.

4. Lignite is an impure coal which is of little value as fuel. Bituminous coal is found in Pennsylvania and others of the Central States. Anthracite coal is the familiar "hard" coal of

left in the retorts where coal gas has been made. In western Pennsylvania there are thousands of coke ovens in which the coal is roasted to drive off the gases and other substances.

5. Natural gas is obtained in many parts of the world. In America the gas wells of Pennsylvania, West Virginia, Ohio and Indiana are most famous.

Marsh gas comes from decayed vegetation under water. It has not been generally utilized, but in several places it has been employed for fuel and lighting purposes.

Water gas is obtained by passing a current of steam thru red-hot coals. The water is decomposed by the heat into its elements, hydrogen and oxygen, and some of the carbon dioxide is made to take up more carbon, forming a gas (carbon monoxide). This mixture of gases burns with great heat but no light. In order to make it luminous, it is passed thru crude oil, which makes it burn with a bright flame.

Oil gas is also known as Pintsch gas. It is best known as the illuminant used in lighting railway coaches.

Pintsch gas is obtained as a product in distillation of oil. After tar and other impurities have been taken out, the gas is compressed in huge tanks from which it is delivered to the reservoirs underneath the cars.

Eighty-five thousand railway cars and nine thousand locomotives are using Pintsch gas.

Producers' gas is a valuable fuel gas. It is produced by having air blown thru a thick coal fire, steam also being admitted to keep down the temperature. The chemical process is a complex one, very difficult to comprehend. Producers' gas gives no light, but on account of its great heat-producing power it is good for manufacturing purposes.

Air gas is made by passing a current of air thru a light, volatile oil such as naphtha or gasolene. It is really gasolene vapor. In country places where coal gas is not to be obtained, air gas is used extensively for lighting purposes.

Coal gas is the commonest commercial gas. It is made by roasting bituminous coal in airtight retorts for some time, until nothing but solid coke and gas carbon remain in the retorts.

Three kinds of products are the result of the roasting. They are (1) solid residues (coke and gas carbon) which remain in the retorts; (2) liquids (tar, etc.), which condense when the heated gases are cooled; and (3) gases (ammonia, sulphur dioxide, hydrogen sulphide, etc.), which must be removed by passing thru quicklime. The mixture of gases which remains constitutes so-called illuminating gas.

Acetylene gas is produced when calcium carbide comes into contact with water. Generators for acetylene gas may be had for lighting houses and small lamps, and lanterns are on the market for use on automobiles and elsewhere.

Acetylene burns with a brilliant white light. 6. Petroleum is one of the most important mineral substances. Its products will be treated in another table. Gasolene, kerosene, and va

rious fuel oils are the only products to be considered here.

Gasolene is of great use as a fuel for gas engines, automobiles, lighting plants, vapor stoves, and cleaning purposes. It is also employed in cheap paints as a substitute for turpentine, but such use cannot be recommended. Kerosene is the valuable oil used in lamps and oil-stoves. Many grades are produced.

Fuel oils are residues left after the lighter oils, such as gasolene, kerosene, etc., have been distilled off.

Heavy lubricating oils, petrolatum and paraffin, are among the valuable products of distilling petroleum.

Respect for the Flag

ing for the more effective teaching of good citiCaptain Alfred G. King is patriotically laborzenship in the schools. Here are a few words Americans young and old: from him, which ought to be taken to heart by

"While the practise of daily saluting our national flag in the schools is recognized by many with indifference, and as 'a small matter,' as a matter of fact, the formalities should be made most impressive as one of the most important acts that are performed by the pupil and student under the rules of a civic governing body; and for very excellent and far-reaching rea

"Second-That a national flag, as no other emblem, when displayed at full mast, expressly authorizes the exercise of desired single and several acts of the nation it represents beyond the boundaries of its national territory; as in the exercise of so-called extra-territorial jurisdiction at an embassy, consulate, and upon every foot of the deck of a ship in foreign port or waters.

"In the United States the national flag, in its service ranks everything. It is the commander-in-chief of the armies and navies of the nation. If the colors are being borne within saluting distance of a sentinel walking post, the soldier would pay no attention to the President if he should happen by and attempt to address. The colors are first, always, and respect for the same should never be circumscribed nor abridged."

"Humanity with all its fears,

With all the hopes of future years,
Is hanging breathless on thy fate."