The story has often been told of the manager of a popular theatre who, in consequence of his only playing sombre dramas, was obliged to have the actor who took the part of the traitor protected on his leaving the theatre, to defend him against the violence of the spectators, indignant at the crimes, imaginary though they were, which the traitor had committed. We have here, in my opinion, one of the most remarkable indications of the mental state of crowds, and especially of the facility with which they are suggestioned. The unreal has almost as much influence on them as the real. They have an
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