We disregard the real shadings of the play and by mere personal side interests put emphasis where it does not belong.

If we really enter into the spirit of the play, our attention is constantly drawn in accordance with the intentions of the producers.
Surely the theater has no lack of means to draw this involuntary attention to any important point.

To begin with, the actor who speaks holds our attention more strongly than the actors who at that time are silent.

Yet the contents of the words may direct our interest to anybody else on the stage.

We watch him whom the words accuse, or betray or delight.