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58 HEART INTEREST consents and leads the way, despised even by those who are to profit by his falseness to his trust. The author, through half apologies, leads the reader to share this scorn. Then it was suddenly shown that the peasant had deliberately sought to entice them into the trap, knowing that his countrymen were ready to wreck the bridge when the troops should be upon it. He was a hero and not a traitor. Later (by a very few months) the same story but by a different author appeared, with the hero this time a North Sea fisherman who accepted German bribes to lead a submarine through a mined channel and who deliberately steered her into the nets, knowing that he would share the fate of the submarine's crew. 8. In these cases were shown love of country proven by deed and not dragged in to make a "hot finish." There was no waving of the flag, no playing of the bands, just the calm, unemotional ac- ceptance of death in the performance of duty to country. It was appealing. It touched the heart. It did not irritate. 9. Appeal to heart interest must be deft and certain. Tke char- acters, particularly the leading character, must be so finely drawn that the persons seem real and convincing. Repression, more often than abandonment, is the proper keynote. The mother does not slabber all over her son but takes in silent patience her rebuffs, and only in the solitude of her chamber does she expose the depth of her wounds. She does not cry out after him and follow him around the stage on her knees like a painted lady playing emotional tag with her latest former flame. Real emotion of the tender sort does not manifest itself in violent action but in greater repression. The hurt is too deep to show upon the surface. It is like the malignant cancer, in contrast to the surface boil that heads, breaks and is cured. This is an error that too many writers make. They think that in pictures forceful acting is always an essential, no matter how untrue to life such action may be. In reality, even in pictures, repression, if backed by heart interest shown in situation, is far more impressive in its effect upon the spectator than the most violent ranting. 10. In its lighter aspects heart interest may arise not through a recital of sorrows, but through a feeling of intimacy and charm that is created between the protagonist and the spectator. We are made to love the people of the play because of their simplicity and genu- ineness. They become so real to us that we are able to share their delights and suffer their sorrows. They are clean and decent people, whom we like to know. 11. We must, of course, feel a polite interest and some sympathy for the simple country maid who goes to the city to seek her fortune and who comes home in a black dress with a baby in her arms. We are sorry for her in a way, but the sorrow is polite and the sympathy conventional. We regret because regret seems to be re- quired, but we are inclined to feel that a woman with sense enough to keep out of trouble would be a welcome innovation. But draw the pathetic little figure of the boarding house drudge, the unloved