semicircle, composed of groups of two figures each.

DIVISION II.

Step as in Division I., pointing in the direction of the step, returning after each step to X. Let the arm motion flow from the shoulder and use the hand and wrist lightly and merrily. Then assume Attitude IV. Hold eight (8) counts. Next assume Attitude V. Hold eight (8) counts. Then assume Attitude VI. Hold eight (8) counts. After Attitude VI. return to X and enter upon Division III.

DIVISION III.

I. Cross right leg back of left, touching right toe lightly to floor and clap hands over the head. Two (2) counts. Return to X. Two (2) counts. 2. Extend right leg to right side, touching toe lightly to the floor, right knee bent slightly, weight of body over left foot, body faces to right side, hands clap over head. Two (2) counts. Return to X. Two (2) counts. 3. Cross right leg in front of left, touch toe lightly to floor, head thrown back; clap hands over head. Two (2) counts. Return to X. Two (2) counts. Repeat 1, 2 and 3, but step with left foot. After the last step and return to X, all assume Attitude VII. Hold eight (8) counts. Then assume Attitude VIII. Hold eight (8) counts, then assume Attitude IX. Hold eight (8) counts, then step back to X.

DIVISION IV.

Step to A with the right foot, "unfolding" the arms with a spiral, with a spiral, rhythmic motion ending with the right arm raised, front oblique palm of hand up, the left arm lower, backward oblique. Four (4) counts. Step to B with similar arm motions. Four (4)

counts, Step to C with similar arm motions, the right arm "unfolds" to an elevated backward oblique. Four (4) counts. Step to D with left foot, the left arm "unfolding" to an elevated position, backward oblique. Four (4) counts. Step to E with left arm motions similar to D. Four (4) counts. Step to F with arm motions similar to D. Four (4) counts. After F movements, assume Attitude X, hold eight (8) counts, then assume Attitude XI. Hold eight (8) counts, then assume Attitude XII. Hold eight (8) counts.

DIVISION V.

Step as in Division II., throwing kisses instead of pointing. After step F, assume Attitude XIII. Hold eight (8) counts, then assume Attitude XIV. Hold eight (8) counts, then assume Attitude XV. Hold eight (8)

counts.

DIVISION VI.

Step as in Division II., waving right hand when stepping with right foot, left hand opposed. Wave left hand when stepping with left foot. After last step and return, assume Attitude XVI., all stretch arms toward audience with laughing faces. Hold eight (8) counts. Then assume Attitude XVII., with weight still forward bring right forearm and hand toward the body till the fingers touch the breast, the left arm is extended, the fingers of the left hand turning inward toward oneself as in invitation. Hold eight (8) counts. Then assume Attitude XVIII. Each girl in the front semicircle catches with the right hand the left hand of the girl obliquely back of her to the right, and all bow gracefully and merrily with low retiring bow. Hold eight (8)

counts.

I

MMEDIATELY after the first explanatory lines of a play have been given, the actual story begins to be unfolded to us both by speech and action. Within the next few minutes we see all, or nearly all, the characters of the story, and we learn their relations to one another. So far we are picking up the threads of the story. Very soon we see complications arise that were wholly unexpected. New circumstances appear, and we grow more and more interested in the progress of events. We see that these circumstances affect the people differently; that they are in the nature of a trial under which characters will change. We see something more, that becomes deeply interesting, the motives that lead to actions. At once the study of motives becomes of overwhelming interest. We continually wonder what our motives would be under like circumstances, and if the motives that inspire the people in the story are true and just and right, the play becomes a picture of human experience, and we instinctively try to compare it with our own experience and observation of life.

Presently the story reaches a point of intenser interest, or we appear to discover a wholly new problem in the chain of events. A sudden and unexpected turn in the progress of events appears. It seems as if a question must be asked, and that upon its answer the whole future course of events

must turn. Here comes a sudden pause, and the curtain falls, shutting off the picture and bringing the story to a temporary end. This point of special interest in the story is called the climax. It is the most interesting point yet reached, and it brings the first act to a close.

A short play may consist of only one part or act, and may be given without a pause or rest. It has been found that we cannot listen to a story, however interesting, for more than about forty minutes. So we find all plays that are to fill an entire evening are usually divided into two, three or more parts or acts. Two things are accomplished by this division of a play into acts. It gives both performers and listeners a little pause or rest, and it enables the author to impart variety to his scenes and to change the time of the story.

A picture of life should give only the most interesting points or incidents. A real life may contain long lapses of time, during which nothing happens worth recording. The author gives us the high lights of the story. The dull spots he passes over between the acts. For instance, the day of a young man's engagement may be a very important occasion, and we may be glad to be present to see how the young people behave. The next event in his life may be his wedding, and between these two days he may live a very dull and humdrum