Much skill is needed, and has been developed, in regard to the marshaling of the precedent conditions: to which the word _exposition_ has been by common consent given. Exposition to-day is by no means what it was in Shakespeare's; indeed, it has been greatly refined and improved upon. In the earlier technic this prefatory material was introduced more frankly and openly in the shape of a prologue; or if the prologue was not used, at least the information was conveyed directly and at once to the audience by means of minor characters, stock figures like the servant or confidante, often employed mainly, or even solely, for that purpose. This made the device too obvious for modern taste, and such as to injure the illusion; the play lost its effect of presenting truthfully a piece of life, just when it was particularly important to seem such; that is, at the beginning. For with the coming of the subtler methods culminating in the deft technic of an Ibsen, which aims to draw ever closer to a real presentation of life on the stage, and so strove to find methods of depiction which should not obtrude artifice except when unavoidable, the stage artist has learned to interweave these antecedent circumstances with the story shown on the stage before the audience. And the result is that to-day the exposition of an Ibsen, a Shaw, a Wilde, a Pinero or a Jones is so managed as hardly to be detected save by the expert in stage mechanics. The intelligent play-goer will derive pleasure and profit from a study of Ibsen's growth in this respect; observing, for example, how much more deftly exposition is hidden in a late work like _Hedda Gabler_ than in a comparatively early one like _Pillars of Society_; and, again, how bald and obvious was this master's technic in this respect when he began in the middle of the nineteenth century to write his historical plays. In general, it is well worth while to watch the handling of the first act on the part of acknowledged craftsmen with respect to the important matter of introducing into the framework of a two hours' spectacle all that has transpired before the picture is exhibited to the spectators.