By this time the audience is quiet and can take the fine points, so the third scene of the first act can be made exciting. There is thus no flagging of interest in either Bulwer or Boucicault. One does the thing in three scenes, the other in a single scene, but both employ the same means, which are thus expressed: IX. Open the first act with a quiet picture, and bring in the disturbing element at once. Having aroused attention, bring on all your characters, and end with an excitement. Avoid bringing on characters in pairs in this act. The first act of a play is always surrounded with difficulties. The interest of the audience has to be aroused, and all the characters brought in. Every part of it must hang together, and the attention must be excited more and more as the act progresses. This rule applies to the whole play likewise, but in the first act it is especially necessary, because there are so many things to divert attention, and the object of the act is to catch it. After a certain period it must flag, and the object of the dramatist must be to close his act before that dreadful period. The office of the first act is to prepare for the second; therefore it resembles the front scene in one important principle--it should end in suspense, and make the audience eager for the second act. Ending as it should in a full scene, it has the advantage over the front scene that a tableau is possible, and should be used. This tableau must be natural, and must come, as all tableaux come, out of a climax, but the climax must not be complete. It must leave the audience in suspense, and give them something to talk about in the inter-act. It must not be too long delayed, or the act will drag. These and various other reasons have led to this further canon, generally observed: X. The first act should be the shortest, and as soon as a partial climax is reached the curtain should come down. The tableau and action should indicate suspense and preparation. This general rule indicates that the villain should be temporarily triumphant, if the play is to end in his discomfiture. If his first scheme fails in the first act, it is difficult to arouse interest in the nominally imperilled innocence which is left in danger. The structure becomes too artificial, and the dictum _ars est celare artem_ has been violated. No rule is so safe in dramatic writing, as also in acting. The end is--_illusion_.