morning outbreak of expectancy, half animal glee, half spiritual joy;
the "whole sunrise, not to be suppressed" is a limitless splendour, but
the reflected beam cast up from the splash of her ewer and dancing on
her poor ceiling is the same in kind; in the shrub-house up the
hill-side are great exotic blooms, but has not Pippa her one martagon
lily, over which she queens it? With God all service ranks the same, and
she shall serve Him all this long day by gaiety and gratitude.

_Pippa Passes_ is a sequence of dramatic scenes, with lyrics
interspersed, and placed in a lyrical setting; the figures dark or
bright, of the painting are "ringed by a flowery bowery angel-brood" of
song. But before his _Bells and Pomegranates_ were brought to a close
Browning had discovered in the short monodrama, lyrical or reflective,
the most appropriate vehicle for his powers of passion and of thought.
Here a single situation sufficed; characters were seen rightly in
position; the action of the piece was wholly internal; a passion could
be isolated, and could be either traced through its varying moods or
seized in its moment of culmination; the casuistry of the brain could be
studied apart,--it might have its say uninterrupted, or it might be
suddenly encountered and dissipated by some spearlike beam of light from
the heart or soul; the traditions of a great literary form were not here
a cause of embarrassment; they need not, as in work for the theatre, be
laboriously observed or injuriously violated; the poet might assert his
independence and be wholly original.

And original, in the best sense of the word--entirely true to his
highest self--Browning was in the "Dramatic Lyrics" of 1842, and the
"Dramatic Romances and Lyrics" of 1845. His senses were at once
singularly keen and energetic, and singularly capacious of delight; his
eyes were active instruments of observation, and at the same time were