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 of mind," as we read in a pamphlet of 1675 (Cromwell the Politician), which reminds one of "a certain Dante" of the Italian chronicle.

We omit many less important characters, of each of whom, however, the actual life is known, and each of whom has his marked individuality, and all of whom contributed to the fascination which this vast historical scene exerted upon the author's imagination. From that scene he constructed this drama. He moulded it in verse, because he preferred to do so. One will discover on reading it how little thought he gave to his work while writing this preface—with what disinterestedness, for instance, he contended against the dogma of the unities. His drama does not leave London; it begins on June 25, 1657, at three in the morning, and ends on the 26th at noon. Observe that he has almost followed the classic formula, as the professors of poetry lay it down to-day. They need not, however, thank him for it. With the permission of history, not of Aristotle, the author constructed his drama thus; and because, when the interest is the same, he prefers a compact subject to a widely diffused one.

It is evident that, in its present proportions, this drama could not be given at one of our theatrical performances. It is too long. The reader will perhaps comprehend, none the less, that every part of it was written for the stage. It was on approaching his subject to study it that the author recognized, or thought that he recognized, the impossibility of procuring the performance of a faithful reproduction of it on our stage, in the exceptional position it now occupies, between the academic Charybdis and the administrative Scylla, between the literary juries and the political censorship. He was required to choose: either the wheedling, tricky, false tragedy, which may be acted, or the audaciously, true drama, which is prohibited. The first was not worth the trouble of writing, so he preferred to attempt the second. That is why, hopeless of ever being put on the stage, he abandoned himself, freely and submissively, to the whims of composition, to the pleasure of painting with a freer hand, to the developments which his subject demanded, and which, even if they keep his drama off the stage, have at all events the advantage of making it almost complete from the historical standpoint. However, the reading committees are an