- ing, music, and poetry; for in the lower forms, such
as the dancing of savages, the grinding of hand organs, and the "sing-song" of uninspired recitations the too frequent repetition soon results in monotony.
In the movies of to-day there is, we are glad to observe, very little bad repetition except that of close-ups, and even they are now more and more eliminated by directors. But there is also very little good repetition in the cause of artistic emphasis. The tendency is rather a touch and run. Seventy settings are used where seventeen would give us a stronger sense of environment. We read more publicity "dope" about a woman who can do a hundred "stunts" in five reels than about one who can strike a single enthralling pose, and can return to it again and again until it becomes as unforgettable as a masterpiece of sculpture.
The photoplay needs repetition, especially because of the fact that any pictorial motion or moment must by its very nature vanish while we look. Hence, unless all other circumstances are especially favorable for emphasis, such a motion or moment may vanish from our minds as well as from the screen. To fix these fleeting values is a problem, but it can be solved without the danger of monotony if each repetition is provided with a variety of approach, or if each repetition is made under a variety of circumstances. This is the method in music. A particular series of notes is struck and serves for a theme; then the melody wanders off into a maze of harmony and returns to the theme, only to wander off again into a new harmony and to return from a new direction to the same theme. After a while this musical theme, thus repeated with a variety of approach, penetrates our souls and remains
