The view that the dramatist has only to think of pleasing himself is elsewhere dealt with.
Two dramatists who have read these pages in proof, exclaim at this passage. The one says, "No, no!" the other asks, "Why?" I can only reiterate that, where there exists a strong and generally accepted tradition, the dramatist not only runs counter to it at his peril, but goes outside the true domain of his art in so doing. New truth, in history, must be established either by new documents, or by a careful and detailed 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.
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!"
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.
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.