Modern dramatists are likely to be much more careful in giving advice about characterization.  They insert a large number of stage directions covering this matter.  Speed of delivery, tone and inflection, as well as underlying feeling and emotion are minutely indicated.

     DUCHESS OF BERWICK

     Mr. Hopper, I am very angry with you.  You have taken Agatha
     out on the terrace, and she is so delicate.

     HOPPER

     [At left of center] Awfully sorry, Duchess.  We went out
     for a moment and then got chatting together.

     DUCHESS

     [At center] Ah, about dear Australia, I suppose?

     HOPPER

     Yes.

     DUCHESS

     Agatha, darling! [Beckons her over.]

     AGATHA

     Yes, mamma!

     DUCHESS

     [Aside] Did Mr. Hopper definitely—­

     AGATHA

     Yes, mamma.

     DUCHESS

     And what answer did you give him, dear child?

     AGATHA

     Yes, mamma.

     DUCHESS

     [Affectionately] My dear one!  You always say the right
     thing.  Mr. Hopper!  James!  Agatha has told me everything.  How
     cleverly you have both kept your secret.

     HOPPER

     You don’t mind my taking Agatha off to Australia, then,
     Duchess?

     DUCHESS

     [Indignantly] To Australia?  Oh, don’t mention that
     dreadful vulgar place.

     HOPPER

     But she said she’d like to come with me.

     DUCHESS

     [Severely] Did you say that, Agatha?

     AGATHA

     Yes, mamma.

     DUCHESS

     Agatha, you say the most silly things possible.

Descriptions of Characters.  In addition to definite directions at special times during the course of the dialogue, modern writers of plays describe each character quite fully at his first entrance into the action.  This gives the delineator of each role a working basis for his guidance.  Such directions carefully followed out assure the tone for the whole cast.  They keep a subordinate part always in the proper relation to all others.  They make certain the impression of the whole story as a consistent artistic development.  They prevent misunderstandings about the author’s aim.  They provide that every character shall appear to be swayed by natural motives.  They remove from the performance all suggestions of unregulated caprice.

Dramatists vary in the exactness and minuteness of such descriptive character sketches, but even the shortest and most general is necessary to the proper appreciation of every play, even if it is being merely read.  When a student is assimilating a role for rehearsing or acting, these additions of the author are as important as the lines themselves.