But it has been so misconstrued by an intelligent and not unsympathetic critic; and his construction may be endorsed by other persons in the present, and still more in the future, in whom the elements of a truer judgment are wanting. It seems, therefore, best to protest at once against the misjudgment, though in so doing I am claiming for it an attention which it may not seem to deserve. I allude to Mr. Mortimer's 'Note on Browning' in the 'Scottish Art Review' for December 1889. This note contains a summary of Mr. Browning's teaching, which it resolves into the moral equivalent of the doctrine of the conservation of force. Mr. Mortimer assumes for the purpose of his comparison that the exercise of force means necessarily moving on; and according to him Mr. Browning prescribes action at any price, even that of defying the restrictions of moral law. He thus, we are told, blames the lovers in 'The Statue and the Bust' for their failure to carry out what was an immoral intention; and, in the person of his 'Don Juan', defends a husband's claim to relieve the fixity of conjugal affection by varied adventure in the world of temporary loves: the result being 'the negation of that convention under which we habitually view life, but which for some reason or other breaks down when we have to face the problems of a Goethe, a Shelley, a Byron, or a Browning.' Mr. Mortimer's generalization does not apply to 'The Statue and the Bust', since Mr. Browning has made it perfectly clear that, in this case, the intended act is postponed without reference to its morality, and simply in consequence of a weakness of will, which would have been as paralyzing to a good purpose as it was to the bad one; but it is not without superficial sanction in 'Fifine at the Fair'; and the part which the author allowed himself to play in it did him an injustice only to be measured by the inference which it has been made to support. There could be no mistake more ludicrous, were it less regrettable, than that of classing Mr. Browning, on moral grounds, with Byron or Shelley; even in the case of Goethe the analogy breaks down. The evidence of the foregoing pages has rendered all protest superfluous. But the suggested moral resemblance to the two English poets receives a striking comment in a fact of Mr. Browning's life which falls practically into the present period of our history: his withdrawal from Shelley of the devotion of more than forty years on account of an act of heartlessness towards his first wife which he held to have been proved against him.