,
With mothed and dropping arras hung,
Mouldering her lute and books among,
As when a queen, long dead was young."

FOOTNOTES:

[Footnote 12: See the whole Preface, Appendix II.]

3. STRAFFORD: an Historical Tragedy.

[Written toward the close of 1836; acted at the Theatre
Royal, Covent Garden (_Strafford_, Mr. Macready; _Countess of
Carlisle_, Miss Helen Faucit), May 1, 1837; by the Browning
Society at the Strand Theatre, Dec. 21, 1886, and at Oxford
by the O.U.D.S. in 1890; published in 1837 (_Poetical Works_,
1889, Vol. II., pp. 187-307).]

_Strafford_ was written, at Macready's earnest request, in an interval
of the composition of _Sordello_. Like all Browning's plays which were
acted, it owed its partial failure to causes quite apart from its own
merits or defects as a play.[13] Browning may not have had the making of
a good playwright; but at least no one ever gave him the chance of
showing whether he was or not. The play is not without incident,
especially in the third act. But its chief merit lies in the language
and style of the dialogue. There is no aim at historical dignity or
poetical elaboration; the aim is nature, quick with personal passion.
Every word throbs with emotion; through these exclamatory, yet how
delicate and subtle lines, we seem actually to see and hear the
speakers, and with surprising vividness. The words supply their own
accents, looks and gestures.

In his preface to the first edition (reprinted in Appendix II.) Browning
states that he believes the historical portraits to be faithful. This is
to a considerable extent confirmed by Professor Gardiner, who has given
a careful consideration of the play in its historical aspects, in his
Introduction to Miss Hickey's annotated edition (G. Bell & Sons, 1884).
As a representation of history, he tells us, it is inaccurate; "the very
roots of the situation are untrue to fact." But (as he allows) this
departure from fact, in the conduct of the action, is intentional, and,
of course, allowable: Browning was writing a drama, not a history. Of
the portraits, the really vital part of the play as an interpretation of
history, he writes:--

"For myself, I can only say that, every time I read the play,
I feel more convinced that Mr. Browning has seized the real
Strafford, the man of critical brain, of rapid decision, and
tender heart, who strove for the good of his nation, without
s