The Gypsy Trail, by Housman. Charming romantic comedy of society in three acts for five men and four women. American Play Co. Her Own Money, by Swan. Comedy drama in three acts for three men and four women. French.

Her Own Way, by Fitch. Social drama in four acts for five men and nine women. French.

The Importance of Being Earnest, by Wilde. Sure-fire comedy if done well. Three acts, five men and four women. One exterior, two

interiors. French.

In Chancery, by Pinero. Farcical comedy in three acts for seven men Three interiors. French.

and six women.

The Liars, by Jones. Comedy of manners. Four acts for ten men and six women. Four interiors. French.

The Little Minister, by Barrie. Well-known drama, in four acts, for eleven men and five women. Sanger and Jordan.

The Man From Home, Tarkington and Wilson. Wholesome American drama in four acts, for eleven men and three women. Three interiors, one exterior. Sanger & Jordan, or Harpers.

The Marriage of Kitty, by Lennox. Comedy in three acts for four men and three women. French.

Mary Goes First. Satire on manners in three acts and epilogue, for eight men and four women. French.

Milestones, by Arnold and Knobloch. English Drama. Not altogether impossible, but rather hard. Same setting, but using different furniture to represent periods of one generation apart. Three acts, nine men and six women. Doran.

The Mollusc, by Davies. Good, not too hard, though requires careful acting. Three acts, two men and two women. One interior. Baker. Mrs. Bumpstead-Leigh, by Smith. Comedy in three acts for six men and six women. French.

The Naked Truth, by Paston and Maxwell. Farce in three acts for nine men and six women. One exterior, two interiors. French. Peg o' My Heart, by Manners. Famous comedy. Three acts, five

men and four women. French.

The Prince Chap, by Peple. Artistic comedy in three acts, for six men and six women. French.

Secret Service, by William Gillette. Military drama in four acts for sixteen men and five women. Two interiors. French.

The Truth, by Fitch. Drama in four acts. Needs very good acting. Five men and four women. Two interiors. French.

The Twig of Thorn, by Warren. Irish fairy play in two acts, for six men and seven women. Baker.

The Tyranny of Tears, by Chambers. Society comedy in four acts, for four men and three women. Baker.

A Woman's Way, by Buchanan. Society drama, comedy, in three acts.

Calls for two sets, can be played in one, by some minor changes.
Seven men and six women. Doubleday, Page. (Drama League
Series.)

Young America, by Ballard. Excellent comedy in three acts. Delightful humor and warm pathos. Needs a well-trained dog. Fifteen men and six women. French.

IV. EASIER LONG PLAYS

Below is a list of longer plays, described in the catalogues of French, Baker, Sanger and Jordan, and others, which can be produced by directors having less experience than might be required for some of the more difficult plays. In many of them the lines and the situations carry themselves. At the same time, they will be found to be effective in proportion to the work that is put on them. We shall not here attempt a full description, but suggest that the directors provide themselves with the catalogues and study them over carefully.

All-of-a-Sudden Peggy, by Denny. Well-known comedy for six men and five women. Three acts, two interiors. French.

An American Citizen, by Ryley. Comedy in four acts for eight men and six women. Three interiors and one exterior. French. And Billy Disappeared, by Hare. Mystery comedy in three acts for five men and six women. One interior throughout. Baker.

A Bachelor's Romance, by Morton. Comedy in four acts for seven men and four women. Three interiors. French.

Brown of Harvard, by Young. Famous college drama in four acts for twenty men and four women. Settings rather difficult. French. Brown's in Town, by Swan. Farcical comedy in three acts for five men and four women. One exterior, one interior. French.

Captain Kidd, Jr. Comedy in three acts for seven men and three women. Sanger and Jordan.

The Case of Rebellious Susan, by Jones. Comedy in three acts for ten men and four women. French.

Charley's Aunt, by Thomas. Farcical comedy in three acts, available in manuscript only. For six men and four women. Two interiors and one exterior. French.

Caught in the Rain, by Collier. Comedy in three acts for twelve men and eleven women. Sanger and Jordan.

Christopher Junior, by Ryley. Comedy in four acts for eight men and four women. Three interiors. A very good play, frequently done by amateurs. French.

Clover Farm, by Patten. Easy farce for eight men and three women. Three acts. Baker.

The College Widow, by George Ade. Comedy for fifteen men and ten women. Four acts. The play that made George Ade famous. Sanger and Jordan.

The County Chairman, by George Ade. Rural comedy drama in four acts for sixteen men and five women. Sanger and Jordan. Cupid at Vassar, by Owen Davis. Comedy in four acts for four men and nine women. Can be played by all women. Two of the men's parts are eccentrics. Two interior, one exterior. French.

Down East, by Adams. Easy comedy for seven men and three women. Three acts. Baker.

Fanny and the Servant Problem, by Jerome. Comedy in four acts for five men and seventeen women. One interior throughout. Good. French.

For One Night Only, by Baker. Easy comedy in four acts for five men and four women. Baker.

Held by the Enemy, by William Gillette.

for fourteen men and three women.
French.

Military Drama in four acts
Not easy, but can be done.

Her Lord and Master, by Morton. Comedy in three acts for six men and five women. French.

Her Own Money, by Mark Swan. Comedy in four acts for three men and four women. Financial transactions between a husband and his wife make the theme of this charming play. It requires careful work, but it can be done. One interior, one exterior. French. Hurry, Hurry, Hurry, by Arnold. Society drama in three acts for five men and four women. One interior. Making love and proposing by schedule are not the easiest things in the world. French. Little Mrs. Cummin, by Pryce. Farce comedy in three acts for four men and five women. The theme of the eternal mother-in-law is the basis of this little play. One interior. French.

Mrs. Temple's Telegram, by Wyatt and Morris. Farce comedy in three acts for five men and four women. What happens when a man is out all night, even if he can't help it? Trying to get out of it by lying does not help-it is worse than the truth-as Temple found out. One interior. French.

Mrs. Mainwaring's Management, by Froome. Comedy in two acts for three men and four women. One interior. Three engaged couples at a week-end house-party are enough to start almost any kind of complication. French.

Nothing but the Truth, by Montgomery. Comedy in three acts. Can a man tell the absolute truth for twenty-four hours, even on a wager? It is likely to start something-and it did. Two interiors. French. Officer 666, by MacHugh. Farce in three acts for seven men and three women. A straight American play with plenty of "pep" from start to finish. French.

Our Wives, by Krafft. Comedy in three acts for seven men and four women. Sanger and Jordan, or Baker.

A Pair of Sixes, by Peple. four women. Good for Peaceful Valley, by Kidder. four women.

Comedy in three acts for eight men and
amateurs, not at all hard. French.
Drama in three acts for seven men and
A great success on the professional stage; can be

done effectively by amateurs. French. The Private Secretary, by Hawtrey.

nine men and four women.
interiors. French.

Farcical comedy in three acts for A story of mistaken identity. Two

The Professor's Love Story, by Barrie. Comedy in three acts for seven men and five women. Sanger and Jordan.

The Rivals, by Sheridan. A famous old comedy in five acts for nine men and five women. Has been presented countless times with success. Baker.

Robina in Search of a Husband, by Jerome. Farce in four acts for eight men and four women. One interior. An interchange of identities on the part of a woman and her maid causes no end of trouble for the man in the case. French.

Rose o' Plymouth Town, by Dix and Sutherland. Charming colonial drama in three acts for four men and four women. A favorite with schools. Dramatic Publishing Co.

School for Scandal, by Sheridan. Another of Sheridan's famous old comedies. Has been played successfully for many years, and will long continue to be presented. Five acts, twelve men and four women. Baker.

She Stoops to Conquer, by Goldsmith. No introduction need be given to this very famous comedy. Five acts, fifteen men, four women. Baker.

Stop Thief, by Moore. Comedy for eight men and five women. Three acts. Very good for amateurs. French.

Suzette, by Moore. Farce in three acts for five men and four women. Baker.

What Happened to Jones, by Broadhurst. Farce in three acts for seven men and six women. A sure-fire hit. There are more complications in three acts than one could imagine. One interior. French. When a Feller Needs a Friend, by McMullen. Easy comedy for five men and five women. Three acts. One interior. Baker. Why Smith Left Home, by Broadhurst. Another farce which always makes a hit when presented right. Not hard, but must be done with plenty of go from the very first curtain to the final drop. Two interiors. One a double setting. French.

APPENDIX C

DEBATING

HOW TO CONDUCT SCHOOL DEBATES

Debating is a special kind of public speaking which needs special attention by itself. For high school students, debating has two particular uses; first, as a preparation for the combats of life, and secondly, as a form of school sport. The suggestions with respect to debating given in this appendix will apply to both of these activities, but more particularly to Debating as a school game.

DEBATING AS MATCHED PLAY

First of all, the thing to remember about Debating is that it is a kind of matched play. Two sides are chosen, and rules are laid down to insure that play will be as fair as possible; and then the two sides are permitted to come together in a combat of positions, ideas, information, and command of language. The fundamental problems in Debate are just exactly what they are in any other form of speaking, especially speaking in public; for Debating requires:

(1) careful thought; keen observation, good memory, the possession of opinions, a working imagination, and, in particular, skill in reasoning;

(2) a careful command of language; the ability to frame sentences with strength and vigor, and the power to use words clearly and forcefully:

(3) a voice that carries the right meaning; with good range of pitch, a good change of pace, sufficient strength to fill an audience room, and a quality that is pleasing to the listeners;

(4) an alert body that is under control at all times; which helps carry the meaning to the eyes of the audience.