and complex design and that informing life which mark the developed dramatist. In the monologues he deals with incidents in a life, with moods of a personality, with the consciousness which a man has of his own character at the end of his career; but he seizes these singly, and at one moment. His characters do not develop before the eye; he does not catch the soul in the very act; he does not present life so much as the results of life. He frequently works by the method of retrospect, he tells the story, but does not enact it. In all these he displays the governing motive of his art, which is to reveal the soul; but if the soul reveals itself in his verses, it is commonly by confession, not presentation. He has, in fact, that malady of thought which interferes with the dramatist's control of his hand; he is thinking about his characters, and only indirectly in them, and he is most anxious to convey his reflections upon the psychical phenomenon which he is attending to. In other words, he is, primarily, a moralist; he reasons, and he is fluent in words and fertile in thoughts, and so he loses the object itself, becomes indirect, full of afterthought and parenthesis, and impairs the dramatic effect.
