s, is an original and tragic figure--a royal
Mlle. de Lespinasse, and crowned with fiery and immitigable pain.
Although she has returned the "glare" of Constance with the glare of "a
panther," the Queen is large-hearted. The guards, it is true, arrive as
the curtain falls; but those readers who have wasted their tender
emotion on a couple of afflicted prisoners or decapitated young persons,
whom mother Nature can easily replace, are mistaken. If the Queen does
not die that night, she will rise next morning after sleepless hours,
haggard, not fifty but eighty years old, and her passion will,
heroically slay itself in an act of generosity.[31] Little more,
however, than a situation is represented in this dramatic scene. Of
Browning's full-length portraits of women in the dramas, the finest
piece of work is the portrait of the happiest woman--the play-Duchess of
Juliers, no longer Duchess, but ever

Our lady of dear Ravestein.

Colombe is no incarnated idea but a complete human being, irreducible to
a formula, whom we know the better because there is always in her more
of exquisite womanhood to be discovered. Even the too fortunate
Valence--all readers of his own sex must pronounce him too
fortunate--will for ever be finding her anew.

In the development of his dramatic style Browning more and more lost
sight of the theatre and its requirements; his stage became more and
more a stage of the mind. _Strafford_, his first play, is the work of a
novice, who has little of the instinct for theatrical effect, but who
sets his brain to invent striking tableaux, to prepare surprises, to
exhibit impressive attitudes, to calculate--not always successfully--the
angle of a speech, so that it may with due impact reach the pit. The
opening scene expounds the situation. In the second Wentworth and Pym
confront each other; the King surprises them; Wentworth lets fall the
hand of Pym, as the stage tradition requires; as Wentworth withdraws the
Queen enters to unmake what he has made, and the scene closes with a
tableau expressing the sentimental weakness of Charles:

Come, dearest!--look, the little fairy, now
That cannot reach my shoulder! Dearest, come!

And so proceeds the tragedy, with much that ought to be dear to the
average actor, which yet is somehow not always even theatrically happy.
The pathos of the closing scene where Strafford is discovered in The
Tower, sitting with his children, is theatrical pathos of the m