All these principles may be combined in one, the law of harmony. This is possibly the simplest law regarding properties, dialect, and all accidentals in the interpretation of a monologue. The degree of realism in one direction or in one part must be justified by corresponding degrees in others. All art is relative, and depends upon the unity of impression. A man's clothes may be a part of his character, and a singular individual often has an odd hat, or cane, that has become an essential means in the expression of his character. Where a man uses a stick habitually in an individual way, the dramatic artist may use this to a certain extent, especially in monologues of a lower type. So of any article of dress; when an essential part of a character is needed for expression, it is proper to use it. The same principle applies here that was shown in the case of dialect. Though accidental, an article of dress may become a means of expression. In the higher and more exalted monologues, however, there should be more suggestion and less literal presentation of properties or adjuncts. The sublimer the literature, the more appeal is made to the imagination; the deeper the feeling, the more complete is the dependence upon the imagination of the audience. The more lyrical also, a monologue, the less must there be of any accidental representation. This is sure to destroy the lyric spirit. Even when there is not a lyric element the dramatic element is only suggested, and in the sublimest monologues often verges towards the epic. The monologue is rarely purely dramatic, that is, dramatic in a sense peculiar to the theatre. The application of these principles to the interpretation of a monologue is clear. Nothing in the way of properties should ever be employed in the presentation of a monologue which is not absolutely necessary. There should be nothing on the platform which does not directly aid in interpreting the passage. All which does not co-operate in producing the illusion will be a hindrance. Whenever attention is called to a literal object, or even to a mere objective fact, attention is distracted from the central theme.