When anybody died in the pale-green snow storms, the gallery mourned.

They sought out the painted misery and hugged it as akin.
In the hero's erratic march from poverty in the first act, to wealth and triumph in the final one, in which he forgives all the enemies that he has left, he was assisted by the gallery, which applauded his generous and noble sentiments and confounded the speeches of his opponents by making irrelevant but very sharp remarks.

Those actors who were cursed with villainy parts were confronted at every turn by the gallery.

If one of them rendered lines containing the most subtile distinctions between right and wrong, the gallery was immediately aware if the actor meant wickedness, and denounced him accordingly.
The last act was a triumph for the hero, poor and of the masses, the representative of the audience, over the villain and the rich man, his pockets stuffed with bonds, his heart packed with tyrannical purposes, imperturbable amid suffering.
Maggie always departed with raised spirits from the showing places of the melodrama.

She rejoiced at the way in which the poor and virtuous eventually surmounted the wealthy and wicked.