No doubt the audience is the more ready to assimilate this because it knew it was coming. As soon as the Villain steps on to the stage he is obviously the Villain; one does not need to peer at one's programme and murmur, "Who is this, dear?" It is known beforehand that the Hero will be falsely accused, and that not until the last act will he and his true love come together again. All that we are waiting to be told is whether it is to be a marked card, a forged cheque, or a bloodstain this time; and (if, as is probable, the Heroine is forced into a marriage with the Villain) whether the Villain's first wife, whom he had deserted, will turn up during the ceremony or immediately afterwards. For the whole charm of a melodrama is that it is in essentials just like every other melodrama that has gone before. The author may indulge his own fancies to the extent of calling the Villain Jasper or Eustace, of letting the Hero be ruined on the battle-field or the Stock Exchange, but we are keeping an eye on him to see that he plays no tricks with our national drama. It is our play as well as his, and we have laid down the rules for it. Let the author stick to them. It is strange how unconvincing the Hero is to his fellows on the stage, and how very convincing to us. That ringing voice, those gleaming eyes--how is it that none of his companions seems able to recognize Innocence when it is shining forth so obviously? "I feel that I never want to see your face again," says the Heroine, when the diamond necklace is found in his hat-box, and we feel that she has never really seen it at all yet. "Good Heavens, madam," we long to cry, "have you never been to a melodrama that you can be so deceived? Look again! Is it not the face of the Falsely Accused?" But probably she has not been to a melodrama. She moves in the best society, and the thought of a high tea at 6.30 would appal her. But let me confess that we in the audience are carried away sometimes by that ringing voice, those gleaming eyes. He has us, this Hero, in the hollow of his hand (to borrow a phrase from the Villain). When the limelight is playing round his brow, and he stands in the centre of the stage with clenched fists, oh! then he has us. "What! Betray my aged mother for filthy gold!" he cries, looking at us scornfully as if it was our suggestion. "Never, while yet breath remains in my body!" What a cheer we give him then; a cheer which seems to imply that, having often betrayed our own mothers for half a crown or so, we are able to realize the heroic nature of his abstention on this occasion. For in the presence of the Hero we lose our sense of values. If he were to scorn an offer to sell his father for vivisectional purposes, we should applaud enthusiastically his altruism.