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256 DRAMA seek to gain applause is not a hero but a literary error. The story may gain some temporary result, but unless it is convincing and sin- cere its use is more apt to be resented. 22). Self-sacrifice forms a powerful basis for a play if the story be well and interestingly told. If it is merely a cheap bid for tearful emotion the story will fall. The motive for the act must be clearly set forth if appeal is to ,be made. The elder sister who resigns her sweetheart to the younger must have good reason for the sacrifice, else the resignation is absurd. 24. This theme will illustrate what has just been said about the misuse of other factors. The fact of the resignation is beautiful in itself, but it is to be presumed that the motive is proper. If the elder sister gives way for no good reason it is clear that the act is per- formed merely to provide a plot. In such a case she is a fool and not a heroine. Suppose that she knows her sister's love for the man, but knows that the man does not love the younger girl. Shall she sac- rifice her own happiness and that of the man merely to make the third person temporarily happy? If it can clearly be shown that the elder feels a responsibility for the younger and that the younger girl's life is wholly dependent upon her union with the object of her affections, then she places her sister's life above her own happiness and the sacrifice is warranted and noble. If, however, she gives up her sweetheart for the purpose of satisfying her sister's chance whim, then the lack of proper reason causes the sacrifice to appear absurd. 25. At no time can you place your protagonist in a position where he or she will appear absurd and still retain the interest of the spec- tator. This is a rule of the drama to which there are few, if any, exceptions. The leading character may never be permitted to lose in- terest for a moment. We cannot feel interest in a character who is a fool nor sympathize with persons who suffer from their own acts of gross stupidity. 26. We can be sorry for the girl who has loved unwisely, but we cannot take the same interest in her that we feel for the woman who suffers through no error of her own. We can, perhaps, take interest in a person who commits a murder, but not the same interest that we feel for those who have not taken human life. Suffering due to one's own acts never commands the same sympathy as the suffer- ings resulting from the actions of another and reacting upon the in- nocent; as the mother of the girl who went wrong or the family of the murderer. 27. In this centralization of interest and the holding of that in- terest once it is aroused lies much of the success of a drama. Your protagonist cannot be too closely studied. You must both love and respect this character that you may win love and respect for him from others. You must clearly know the identity of your protagonist be- fore you begin your development, else you may shift the interest from one character or perhaps even share the interest between several characters. This cannot give the best result. All that happens in a