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io6 THE ART OF SOUND PICTURES
larger way of life. It gives us a basis for making certain specific predictions about him. It also aids us in adjusting ourselves to him in social and business relations. It can be both unambiguous and significant.
It does not follow that a boy who lies, under the threat of corporal punishment, will also lie under many other conditions. Old maids and Puritans often suppose so; and they condemn to hell-fire every youth who swerves, by a hair’s breadth, from the truth. But each of us probably has a score or more of fairly distinct ways of coloring or hiding facts, each way being specially adapted to special situations. Thus, we assure somebody, when we meet him at a dance or a tea, that we are awfully glad to see him — this being purely a matter of etiquette. On the very next day, when he happens to intrude upon a confidential business conference, we may feign irritation at his presence. And so on.
In drawing character, you will pick out the nicely differentiated act of prevarication that fits the occasion. But you will find that there is something beyond this. There is also the necessity of finding and portraying acts which reveal still more of a personality. These may be called uniquely characteristic acts, by way of distinguishing them from the sort we have just described.
A uniquely characteristic act is any act so performed, in such a situation and such a way, that its observer is convinced that the trait molding this act will dominate in all other situations coming up in the life of the character so behaving. Character is always determined by three stages of action in ordinary intelligent behavior, which should be kept well in mind in order to understand the uniquely characteristic act. These stages are (i)