In certain special cases, it is advisable to emphasise a character by the ironical expedient of inverse proportion. Tartufe is so emphasised throughout the first two acts of the play that bears his name. Although he is withheld from the stage until the second scene of the third act, so much is said about him that we are made to feel fully his sinister dominance over the household of Orgon; and at his first appearance, we already know him better than we know any of the other characters. In Victor Hugo's _Marion Delorme_, the indomitable will of Cardinal Richelieu is the mainspring of the entire action, and the audience is led to feel that he may at any moment enter upon the stage. But he is withheld until the very final moment of the drama, and even then is merely carried mute across the scene in a sedan-chair. Similarly, in Paul Heyse's _Mary of Magdala_, the supreme person who guides and controls the souls of all the struggling characters is never introduced upon the scene, but is suggested merely through his effect on Mary, Judas, and the other visible figures in the action. One of the easiest means of emphasis is the use of repetition; and this is a favorite device with Henrik Ibsen. Certain catch-words, which incorporate a recurrent mood of character or situation, are repeated over and over again throughout the course of his dialogue. The result is often similar to that attained by Wagner, in his music-dramas, through the iteration of a _leit-motiv_. Thus in _Rosmersholm_, whenever the action takes a turn that foreshadows the tragic catastrophe, allusion is made to the weird symbol of "white horses." Similarly, in _Hedda Gabler_--to take another instance--the emphasis of repetition is flung on certain leading phrases,--"Fancy that, Hedda!" "Wavy-haired Thea," "Vine-leaves in his hair," and "People don't do such things!"