conceal the fact that he is a convict?  Why does not the Bishop reply directly to Jean Valjean’s question?  What would be the action of Mademoiselle and Madame while Jean is speaking?  What is Madame’s action as she goes out?  What is gained by the conversation between Jean and the Bishop?  Why does the Bishop not reproach Jean for saying he will have revenge?  Why is the silver mentioned so many times?

While you are reading the first part of Scene III, think how it should be played.  Note how much the stage directions add to the clearness of the scene.  How long should the pause be, before Madame enters?  What is gained by the calmness of the Bishop?  How can he say that the silver was not his?  What does the Bishop mean when he says, “I gave it to him”?  What are Mademoiselle and Madame doing while the conversation with the officers and Jean Valjean is going on?  Is it a good plan to let them drop so completely out of the conversation?  Why does the Bishop say that Jean has promised?  Why does the scene close without Jean’s replying to the Bishop?  How do you think the Bishop’s kindness has affected Jean Valjean’s attitude toward life?

Note how the action and the conversation increase in intensity as the play proceeds:  Is this a good method?  Notice the use of contrast in speech and action.  Note how the chief characters are emphasized.  Can you discover the quality called “restraint,” in this fragment of a play?  How is it gained, and what is its value?

EXERCISES[8]

Select a short passage from some book that you like, and try to put it into dramatic form, using this selection as a kind of model.  Do not attempt too much at once, but think out carefully the setting, the stage directions, and the dialogue for a brief fragment of a play.

Make a series of dramatic scenes from the same book, so that a connected story is worked out.

Read a part of some modern drama, such as The Piper, or The Blue Bird, or one of Mr. Howells’s little farces, and notice how it makes use of setting and stage directions; how the conversation is broken up; how the situation is brought out in the dialogue; how each person is made to speak in his own character.

After you have done the reading suggested above, make another attempt at dramatizing a scene from a book, and see what improvement you can make upon the sort of thing you did at first.

It might be interesting for two or three persons to work on a bit of dramatization together, and then give the fragment of a play in simple fashion before the class.  Or the whole class may work on the play, and then select some of their number to perform it.

COLLATERAL READINGS