demanded new ways of saying them; homely, grotesque, or sordid life was
rendered in sordid, grotesque, and homely terms. _Pickwick_ in 1837 had
established the immense vogue of Dickens, the _Heroes_ in 1840 had
assured the imposing prestige of Carlyle; and the example of both made
for the freest and boldest use of language. Across the Channel the
stupendous fabric of the _Comédie Humaine_ was approaching completion,
and Browning was one of Balzac's keenest English readers. Alone among
the greater poets of the time Browning was in genius and temperament a
true kinsman to these great romantic realists; his poetry, as it emerged
in the rich dramatic harvest of the 'Forties, is the nearest counterpart
and analogue of their prose.


I.


Browning's first drama, as is well known, was the result of a direct
application from Macready. Introduced in November 1835 by his "literary
father" Fox, Browning immediately interested the actor. A reading of
_Paracelsus_ convinced him that Browning could write, if not a good
play, yet one with an effective tragic _rôle_ for himself. Strained
relations with his company presently made him eager to procure this
service. Browning, suddenly appealed to (in May 1836), promptly
suggested _Strafford_. He was full of the subject, having recently
assisted his friend Forster in compiling his life. The actor closed with
the suggestion, and a year later (May 1, 1837) the play was performed
at Covent Garden. The fine acting of Macready, and of Helen Faucit, who
was now associated with him, procured the piece a moderate success. It
went through five performances.