Still this does not mean that crowds, skilfully influenced, are not capable of heroism and devotion and of evincing the loftiest virtues; they are even more capable of showing these qualities than the isolated individual. We shall soon have occasion to revert to this point when we come to study the morality of crowds.
Given to exaggeration in its feelings, a crowd is only impressed by excessive sentiments. An orator wishing to move a crowd must make an abusive use of violent affirmations. To exaggerate, to affirm, to resort to repetitions, and never to attempt to prove anything by reasoning are methods of argument well known to speakers at public meetings.
Moreover, a crowd exacts a like exaggeration in the sentiments of its heroes. Their apparent qualities and virtues must always be amplified. It has been justly remarked that on the stage a crowd demands from the hero of the piece a degree of courage, morality, and virtue that is never to be found in real life.
Quite rightly importance has been laid on the special standpoint from which matters are viewed in the theatre. Such a standpoint exists no doubt, but its rules for the most part have nothing to do with common sense and logic. The art of appealing to crowds is no doubt of an inferior order, but it demands quite special aptitudes. It is often impossible on reading plays to explain their success. Managers of theatres when accepting pieces are themselves, as a rule, very uncertain of their success, because to judge the matter it would be necessary that they should be able to transform themselves into a crowd.[6]
[6] It is understandable for this reason why it sometimes happens that pieces refused by all theatrical managers obtain a prodigious success when by a stroke of chance they are put on the stage. The recent success of Francois Coppee's play "Pour la Couronne" is well known, and yet, in spite of the name of its author, it was refused during ten years by the managers of the principal Parisian theatres.