their contour and color. As soon as this underlying uniformity of
make is recognized it may be seen to be the coloring and relief
belonging to any sort of poetic material, whether ordinarily
accounted dramatic material or not, which is imaginatively
externalized and made concrete. This peculiarity of make Browning
early acknowledged in his estimate of his shorter poems as
characteristic of his touch, when he called his lyrics and romances
dramatic. He became consciously sensitive later to slight variations
effected by his manipulation in shape and shade which it yet takes a
little thought to discern, even after his own redivision of his
work has given the clew to his self-judgments.

Not only events, deeds, and characters--the usual subject-matter
moulded and irradiated by dramatic power--but thoughts, impressions,
experiences, impulses, no matter how spiritualized or complex or
mobile, are transfused with the enlivening light of his creative
energy in his shorter poems. Perhaps the very path struck out
through them by the poet in his re-division may be traced between
the leaves silently closing together again behind him if it be
noticed that among these poems there are some with footholds firmly
rooted in the earth and others whose proper realm is air. These have
wings for alighting, for flitting thither and hither, or for
pursuing some sudden rapt whirl of flight in Heaven's face at
fancy's bidding. They are certainly not less original than those
other solider, earth-fast poems, but they are less unique. Being
motived in transient fancy, they are more akin to poems by other
hands, and could be classed more readily with them by any observer,
despite all differences, as little poetic romances or as a species
of lyric.