These traits may be observed, in different degrees, in many of the poems, even in the best. In the dramas themselves the lack of constructive power is absolute. Pippa Passes is only a succession of dramatic fragments artificially bound together, and in the others the lack of body and interdependent life between the parts is patent to all. In a Balcony, certainly one of his finest wrought poems, is only an incident. He is at his best when his field is most narrow—in such a poem as The Laboratory.
There is a compensation for these deficiencies of power in that the preference of his mind for a single passion or mood or crisis at its main moment opens to him the plain and unobstructed way to lyrical expression. His dramatic feeling of the passion and the situation supplies an intensity which finds its natural course in lyrical exaltation. It may well be thought, if it were deemed necessary to decide upon the best in Browning's work, that his genius is most nobly manifest in those lyrics and romances which he called dramatic. The scale rises from his argumentative and moralizing verse, however employed, through those monologues which obey the necessity for greater concen-
