One of Sherlock Holmes’s defects—if, indeed, one may call it a defect—was that he was exceedingly loath to communicate his full plans to any other person until the instant of their fulfillment. Partly it came no doubt from his own masterful nature, which loved to dominate and surprise those who were around him. Partly also from his professional caution, which urged him never to take any chances. The result, however, was very trying for those who were acting as his agents and assistants. I had often suffered under it, but never more so than during that long drive in the darkness. The great ordeal was in front of us; at last we were about to make our final effort, and yet Holmes had said nothing, and I could only surmise what his course of action would be.
—Dr. Watson in A. Conan Dolye, The Hound of the Baskervilles, Ch. 14

Watson insists that I am the dramatist in real life. Some touch of the artist wells up within me, and calls insistently for a well-staged performance. Surely our profession, Mr. Mac, would be a drab and sordid one if we did not sometimes set the scene so as to glorify our results. The blunt accusation, the brutal tap upon the shoulder—what can one make of such a dénouement? But the quick inference, the subtle trap, the clever forecast of coming events, the triumphant vindication of bold theories—are these not the pride and the justification of our life’s work? At the present moment you thrill with the glamour of the situation and the anticipation of the hunt. Where would be that thrill if I had been as definite as a timetable? I only ask a little patience, Mr. Mac, and all will be clear to you.
—Sherlock Holmes in A. Conan Doyle, The Valley of Fear, Part I, Ch. 7

Behind the world in which we live, far in the background, lies another world, and the two have about the same relation to each other as do the stage proper and the stage one sometimes sees behind it in the theater. Through a hanging of fine gauze, one sees, as it were, a world of gauze, lighter, more ethereal, with a quality different from that of the actual world. Many people who appear physically in the actual world are not at home in it but are at home in that other world. But a person’s fading away in this manner, indeed, almost vanishing from actuality, can have its basis in health or in sickness.
—The aesthete, “A,” in the introduction to “The Seducer’s Diary” (S.K.’s Either/Or, Book I, p. 306)