d re-interpretation of old documents; but the stage is not
the place either for the production of documents or for historical
exegesis. It is needless to say that where the popular mind is unbiased,
the dramatist's hands are free. For instance, I presume that one might,
in England, take any view one pleased of the character of Mary. Queen of
Scots; but a highly unfavourable view would scarcely be accepted by
Scottish audiences. Similarly, it would be both dangerous and
unprofitable to present on the English stage any very damaging "scandal
about Queen Elizabeth." Historical criticism, I understand, does not
accept the view that Robespierre was mainly responsible for the Reign of
Terror, and that his death betokened a general revolt against his
sanguinary tyranny; but it would be very hard for any dramatist to
secure general acceptance for a more accurate reading of his character
and function. Some further remarks on this subject will be found in
Chapter XIII.]

[Footnote 3: A malicious anecdote to a similar effect was current in the
early days of Sir Henry Irving's career. It was said that at Bristol one
night, when Mr. Irving, as Hamlet, "took his call" after the first act,
a man turned to his neighbour in the pit and said, "Can you tell me,
sir, does that young man appear much in this play?" His neighbour
informed him that Hamlet was rather largely concerned in the action,
whereupon the inquirer remarked, "Oh! Then I'm off!"]

[Footnote 4: If it be well done, it may remain highly effective in spite
of being discounted by previous knowledge. For instance, the clock-trick
in _Raffles_ was none the less amusing because every one was on the
look-out for it.]

[Footnote 5: The question whether it is ever politic for a playwright to
keep a secret from his audience is discussed elsewhere. What I have here
in mind is not an ordinary secret, but a more or less tricky effect of
surprise.]

[Footnote 6: The pleasure received from exceptionally good acting is, of
course, a different matter. I assume that the acting is merely competent
enough to pass muster without irritating us, and so distracting our
attention.]

[Footnote 7: I myself expressed it in slightly different terms nearly
ten years ago. "Curiosity," I said, "is the accidental relish of a
single night; whereas the essential and abiding pleasure of the theatre
lies in foreknowledge. In relation to the characters in the drama, the
audience are as gods looking before