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The poignant actualism of “Monna Vanna” lies, however, in the author's frank sympathy with a distinctively modern zest for freedom.

You will note how Aeschylus stood above the possibilities of actualism with which we so much concern ourselves; in the course of some sixteen hundred lines, and without interval or change of act or scene, he introduces the watchman on the house-top who first sees the beacons that announce the fall of Troy, on the very night that Troy fell,—and the return of Agamemnon in his chariot to Argos.