born noble, both lived in voluntary exile, both imagined themselves friends and admirers of liberty, both had violent natures, and both indulged the curious hypocrisy

have reached maturity in the longest life; and he was ruled by passions and ideals; h

d the Conspiracy of the Pazzi. Two of his tragedies are from the Bible, the Abel and the Saul; one, the Rosmunda, from Longobardic history. And these themes, varying so vastly as to the times, races, and religions with which they originated, are all treated in the same spirit-the spirit Alfieri believed Greek. Their interest comes from the situation and the action; of character, as we have it in the romantic drama, and supremely in Shakespeare, there is scarcely anything; and the language is shorn of all metaphor and picturesque expression. Of co

e spectators unconscious of theatrical 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

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 o