The temptation to most interpreters, however, is to drag in something which should play the most accidental rôle possible and make it a centre of interest. This destroys expression.
To illustrate: In a popular monologue a lady is supposed to discover under the edge of a curtain a pair of boots which she takes for evidence that a man is standing behind the curtain in concealment. Now, if literal boots are arranged on the stage behind a curtain, they have a totally different effect from Coquelin's hat. They are there all the time. The audience sees them. They cannot move or be used in any way except indirectly. Besides, the woman should discover the boots, and the audience is supposed to discover them with her. A literal pair of boots, therefore, will interfere with the imagination and an imaginary one is far more easily managed.
It is difficult, however, to lay down a universal principle, as much depends upon the artist, the situation, and the circumstances, but in general the chief mistake is in having too many things and in being too literal. The monologue, it must never be forgotten, depends more upon suggestion than the play, and the law of suggestion must always be obeyed.
The monologue, or its interpretation, is simply a mode of expression, and the employment of all accessories and properties must, first of all, be such as will not destroy expression, but rather increase the intensity and enforce the central spirit of the thought.
A second principle might be named the law of centrality. The artist must carefully distinguish between the accidental and the essential, and be sure to remember that art is the emphasis of the essential; that emphasis is the manifestation of what is of fundamental importance and the subordination of what is of secondary value. Careless and inartistic minds always find the accidental first; the accidental is to them always more interesting. But when an accidental is made an essential, the result is a one-sided effect; and while a temporary impression may be produced upon an audience, it is never permanently valuable. The reader who emphasizes accidents will himself grow weary of his monologue in a short time and not know the reason. Only a thing of beauty is a joy forever. Only that which is natural and in accordance with the laws of nature will stand forever as an object of interest.
