Sometimes it appears in homogeneous masses, in entire characters, as Daudin, Prusias, Trissotin, Brid'oison, Juliet's nurse; sometimes impregnated with terror, as Richard III, Begears, Tartuffe, Mephistopheles; sometimes, too, with a veil of grace and refinement, as Figaro, Osric, Mercutio, Don Juan.

It finds its way in everywhere; for just as the most commonplace have their occasional moments of sublimity, so the most exalted frequently pay tribute to the trivial and ridiculous.

Thus, often impalpable, often imperceptible, it is always present on the stage, even when it says nothing, even when it keeps out of sight.

Thanks to it, there is no thought of monotony.

Sometimes it injects laughter, sometimes horror, into tragedy.