The old locomotive was full of character and humor amidst the tragedy, leaking steam at every orifice.

The original is in one of the Southern Civil War museums.

This engine in its capacity as a principal actor is going to be referred to more than several times in this work.
The highest type of Action Picture gives us neither the quality of Macbeth or Henry Fifth, the Comedy of Errors, or the Taming of the Shrew.
It gives us rather that fine and special quality that was in the ink-bottle of Robert Louis Stevenson, that brought about the limitations and the nobility of the stories of Kidnapped, Treasure Island, and the New Arabian Nights.
This discussion will be resumed on another plane in the eighth chapter: Sculpture-in-Motion.
Having read thus far, why not close the book and go round the corner to a photoplay theatre?
Give the preference to the cheapest one.

_The Action Picture will be inevitable.

Since this chapter was written, Charlie Chaplin and Douglas Fairbanks have given complete department store examples of the method, especially Chaplin in the brilliantly constructed Shoulder Arms, and Fairbanks in his one great piece of acting, in The Three Musketeers_..