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artifice, and make them take part with the actors; and he banished from the scene everything that could diminish their illusion; he would not mar the intensity of the effect by changing the action from place to place, or by compressing within the brief time of the representation the events of months and years. To achieve the unity of action, he dispensed with all those parts which did not seem to him the most principal, and he studied how to show the subject of the drama in the clearest light. In all this he went to the extreme, but he so wrought “that the print of his cothurnus stamped upon the field of art should remain forever singular and inimitable. Reading his tragedies in order, from the Cleopatra to the Saul, you see how he never changed his tragic ideal, but discerned it more and more distinctly until he fully realized it. Aeschylus and Alfieri are two links that unite the chain in a circle. In Alfieri art once more achieved the faultless purity of its proper character; Greek tragedy reached the same height in the Italian's Saul that it touched in the Greek's Prometheus, two dramas which are perhaps the most gigantic creations of any literature.” Emiliani-Giudici thinks that the literary ineducation of Alfieri was the principal exterior cause of this prodigious development, that a more regular course of study would have restrained his creative genius, and, while smoothing the way before it, would have subjected it to methods and robbed it of originality of feeling and conception. “Tragedy, born sublime, terrible, vigorous, heroic, the life of liberty, … was, as it were, redeemed by Vittorio Alfieri, reassumed the masculine, athletic forms of its original existence, and recommenced the exercise of its lost ministry.”

      I do not begin to think this is all true. Alfieri himself owns his acquaintance with the French theater before the time when he began to write, and we must believe that he got at least some of his ideas of Athens from Paris, though he liked the Frenchmen none the better for his obligation to them. A less mechanical conception of the Greek idea than his would have prevented its application to historical subjects. In Alfieri's Brutus the First, a far greater stretch of imagination is required from the spectator in order to preserve the unities of time and place than the most capricious changes of scene would have asked. The scene is always in the forum in Rome; the action occurs within twenty-four hours. During this limited time, we see the body of Lucretia borne along in the distance; Brutus harangues the people with the bloody dagger in his hand. The emissaries of Tarquin arrive and organize a conspiracy against the new republic; the sons of Brutus are found in the plot, and are convicted and put to death.

III

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      But such incongruities as these do not affect us in the tragedies based on the heroic fables; here the poet takes, without offense, any liberty he likes with time and place; the whole affair is in his hands, to do what he will, so long as he respects the internal harmony of his own work. For this reason, I think, we find Alfieri at his best in these tragedies, among which I have liked the Orestes best, as giving the widest range of feeling with the greatest vigor of action. The Agamemnon, which precedes it, and which ought to be read first, closes with its most powerful scene. Agamemnon has returned from Troy to Argos with his captive Cassandra, and Aegisthus has persuaded Clytemnestra that her husband intends to raise Cassandra to the throne. She kills him and reigns with Aegisthus, Electra concealing Orestes on the night of the murder, and sending him secretly away with Strophius, king of Phocis.

      In the last scene, as Clytemnestra steals through the darkness to her husband's chamber, she soliloquizes, with the dagger in her hand:

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