That was nothing to be wondered at. If one goes to a theatre to see a matinée performance and then attends an evening performance of the same play one is astounded at the difference in the impressions created. A sensitive person recognizes for himself the fact that these two states of mind caused by the matinee and the evening performance respectively are quite different in themselves. The same is true of cinema productions. This latter point is important; for one may say of the theatre that perhaps in the afternoon the actor does not make the same effort as in the evening. But surely it cannot be said that the cinema is different in the afternoon from what it is at nine o'clock in the evening. No, here the time exercises a distinct influence, just as a room exercises a distinct influence on a person. There are rooms which

leave one cold, for reasons which are difficult to explain. There are rooms which refuse steadfastly to allow any favourable atmosphere to be created in them. Moreover, certain memories and traditions which are present as pictures in the human mind may have a determining influence on the impression produced. Thus, a representation of Parsifal at Bayreuth will have an effect quite different from that which the same opera produces in any other part of the world. The mysterious charm of the House on the 'Festival Heights' in the old city of The Margrave cannot be equalled or substituted anywhere else.

In all these cases one deals with the problem of influencing the freedom of the human will. And that is true especially of meetings where there are men whose wills are opposed to the speaker and who must be brought around to a new way of thinking. In the morning and during the day it seems that the power of the human will rebels with its strongest energy against any attempt to impose upon it the will or opinion of another. On the other hand, in the evening it easily succumbs to the domination of a stronger will. Because really in such assemblies there is a contest between two opposite forces. The superior oratorical art of a man who has the compelling character of an apostle will succeed better in bringing around to a new way of thinking those who have naturally been subjected to a weakening of their forces of resistance rather than in

In this struggle between the orator and the opponent whom he must convert to his cause this marvellous sensibility towards the psychological influences of propaganda can hardly ever be availed of by an author. Generally speaking, the effect of the writer's work helps rather to conserve, reinforce and deepen the foundations of a mentality already existing. All really great historical revolutions were not produced by the written word. At most, they were accompanied by it.

It is out of the question to think that the French Revolution could have been carried into effect by philosophizing theories if they had not found an army of agitators led by demagogues of the grand style. These demagogues inflamed popular passion that had been already aroused, until that volcanic eruption finally broke out and convulsed the whole of Europe. And the same happened in the case of the gigantic Bolshevik revolution which recently took place in Russia. It was not due to the writers on Lenin's side but to the oratorical activities of those who preached the doctrine of hatred and that of the innumerable small and great orators who took part in the agitation.

the more rapid the rhythm of changing phenomena around it.