scene of action, the human picture of that scene, and the human response to that picture working itself out upon the scene of action. It is like a play suggested to the actors by their own experience, in which the plot is transacted in the real lives of the actors, and not merely in their stage parts. The moving picture often emphasizes with great skill this double drama of interior motive and external behavior. Two men are quarreling, ostensibly about some money, but their passion is inexplicable. Then the picture fades out and what one or the other of the two men sees with his mind's eye is reënacted. Across the table they were quarreling about money. In memory they are back in their youth when the girl jilted him for the other man. The exterior drama is explained: the hero is not greedy; the hero is in love.
A scene not so different was played in the United States Senate. At breakfast on the morning of September 29, 1919, some of the Senators read a news dispatch in the Washington Post about the landing of American marines on the Dalmatian coast. The newspaper said:
FACTS NOW ESTABLISHED
"The following important facts appear already established. The orders to Rear Admiral Andrews commanding the American naval forces in the Adriatic, came from the British Admiralty via the War Council and Rear Admiral Knapps in London. The approval or disapproval of the American Navy Department was not asked. . . .
