is play as the logic
of imaginative passion wills, as Browning's conception drove him. But,
unfortunately for its success as a true drama, Browning doubles and
redoubles the motives which impel his characters. Djabal, Anael, Loys,
have all of them, two different and sometimes opposite aims working in
them. They are driven now by one, now by the other, and the changes of
speech and action made by the different motives surging up, alternately
or together, within their will, are so swift and baffling that an
audience would be utterly bewildered. It is amusing to follow the
prestidigitation of Browning's intellect creating this confused battle
in souls as long as one reads the play at home, though even then we
wonder why he cannot, at least in a drama, make a simple situation. If
he loved difficult work, this would be much more difficult to do well
than the confused situation he has not done well. Moreover, the
simplified situation would be effective on the stage; and it would give
a great opportunity for fine poetry. As it is, imaginative work is
replaced by intellectual exercises, poetry is lost in his analysis of
complex states of feeling. However, this involved in-and-out of thought
is entertaining to follow in one's study if not on the stage. It is done
with a loose power no one else in England possessed, and our only regret
is that he did not bridle and master his power. Finally, with regard to
this play, I should like to isolate from it certain imaginative
representations of characters which embody types of the men of the time,
such as the Prefect and the Nuncio. The last interview between Loys and
the Prefect, taken out of the drama, would be a little masterpiece of
characterisation.

* * * * *

_The Blot in the Scutcheon_ is the finest of all these dramas. It might
well be represented on the stage as a literary drama before those who
had already read it, and who would listen to it for its passion and
poetry; but its ill-construction and the unnaturalness of its situations
will always prevent, and justly, its public success as a drama. It is
full of pathetic and noble poetry; its main characters are clearly
outlined and of a refreshing simplicity. It has few obtrusive
metaphysical or intellectual subtleties--things which Browning could not
keep out of his dramas, but which only a genius like Shakespeare can
handle on the stage. It has real intensity of feeling, and the various
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