The dramatic sense loves public appearances and
trappings, processions and ceremonies. The instinctive dramatist,
who is also a clergyman, tends to think of himself as moving to his
place in the sanctuary in a solemn progress, with a worn spiritual
aspect, robed as a son of Aaron. He likes to picture himself as
standing in the pulpit pale with emotion, his eye gathering fire as
he bears witness to the truth or testifies against sin. He likes to
believe that his words and intonations have a thrilling quality, a
fire or a delicacy, as the case may be, which scorch or penetrate
the sin-burdened heart. It may be thought that this criticism is
unduly severe; I do not for a moment say that the attitude is
universal, but it is commoner, I am sure, than one would like to
believe; and neither do I say that it is inconsistent with deep
earnestness and vital seriousness. I would go further, and maintain
that such a dramatic consciousness is a valuable quality for men
who have to sustain at all a spectacular part. It very often lends
impressiveness to a man, and convinces those who hear and see him
of his sincerity; while a man who thinks nothing of appearances
often fails to convince his audience that he cares more for his
message than for the fact that he is the mouthpiece of it.
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