ympathy for the generation in which he lived. Charles, too,
with his faults perhaps exaggerated, is, nevertheless, a real
Charles.... There is a wonderful parallelism between the Lady
Carlisle of the play and the less noble Lady Carlisle which
history conjectures rather than describes.... On the other
hand, Pym is the most unsatisfactory, from an historical
point of view, of the leading personages."

Yet, if it is interesting, it is by no means of primary importance to
know the historical basis and probable accuracy of Browning's play. The
whole interest is centred in the character of Strafford; it is a
personal interest, and attaches itself to the personal character or the
hero. The leading motive is Strafford's devotion to his king, and the
note of tragic discord arises from the ingratitude and faithlessness of
Charles set over against the blind fidelity of his minister. The
antagonism of law and despotism, of Pym and Strafford, is, perhaps, less
clearly and forcibly brought out: though essential to the plot, it wears
to our sight a somewhat secondary aspect. Strafford himself appears not
so much a superb and unbending figure, a political power, as a man whose
service of Charles is due wholly to an intense personal affection, and
not at all to his national sympathies, which seem, indeed, rather on the
opposite side. He loves the man, not the king, and his love is a freak
of the affections. That it is against his better reason he recognises,
but the recognition fails to influence his heart or his conduct. This is
finely expressed in the following lines, spoken by Lady Carlisle:--

"Could you but know what 'tis to bear, my friend,
One image stamped within you, turning blank
The else imperial brilliance of your mind,--
A weakness, but most precious,--like a flaw
I' the diamond, which should shape forth some sweet face
Yet to create, and meanwhile treasured there
Lest nature lose her gracious thought for ever'"

Browning has rarely drawn a more pathetic figure. Every circumstance
that could contribute to this effect is skilfully seized and emphasised:
Charles's incredibly selfish weakness, the implacable sternness of Pym,
the _triste_ prattle of Strafford's children and their interrupted
joyous song in the final scene, all serve to heighten our feeling of
affectionate pity and regret. The imaginary former friendship between
Pym and Strafford adds still m