-- * "Strafford", 1837; "King Victor and King Charles", 1842; "The Return of the Druses", and "A Blot in the 'Scutcheon", 1843; "Colombe's Birthday", 1844; "Luria", and "A Soul's Tragedy", 1845. -- Before passing on from these eight plays to Browning's most imperishable because most nearly immaculate dramatic poem, "Pippa Passes", and to "Sordello", that colossal derelict upon the ocean of poetry, I should like -- out of an embarrassing quantity of alluring details -- to remind the reader of two secondary matters of interest, pertinent to the present theme. One is that the song in "A Blot in the 'Scutcheon", "There's a woman like a dew-drop", written several years before the author's meeting with Elizabeth Barrett, is so closely in the style of "Lady Geraldine's Courtship", and other ballads by the sweet singer who afterwards became a partner in the loveliest marriage of which we have record in literary history, that, even were there nothing to substantiate the fact, it were fair to infer that Mertoun's song to Mildred was the electric touch which compelled to its metric shape one of Mrs. Browning's best-known poems. The further interest lies in the lordly acknowledgment of the dedication to him of "Luria", which Landor sent to Browning -- lines pregnant with the stateliest music of his old age: -- "Shakespeare is not our poet but the world's, Therefore on him no speech! and brief for thee, Browning! Since Chaucer was alive and hale No man has walked along our roads with step So active, so enquiring eye, or tongue So varied in discourse. But warmer climes Give brighter plumage, stronger wing: the breeze Of Alpine heights thou playest with, borne on Beyond Sorrento and Amalfi, where The Siren waits thee, singing song for song." Chapter 5. In my allusion to "Pippa Passes", towards the close of the preceding chapter, as the most imperishable because the most nearly immaculate of Browning's dramatic poems, I would not have it understood that its pre-eminence is considered from the standpoint of technical achievement, of art, merely. It seems to me, like all simple and beautiful things, profound enough for the searching plummet of the most curious explorer of the depths of life. It can be read, re-read, learned by heart, and the more it is known the wider and more alluring are the avenues of imaginative thought which it discloses. It has, more than any other long composition by its author, that quality of symmetry, that `symmetria prisca' recorded of Leonardo da Vinci in the Latin epitaph of Platino Piatto; and, as might be expected, its mental basis, what Rossetti called fundamental brain-work, is as luminous, depth within depth, as the morning air. By its side, the more obviously "profound" poems, Bishop Blougram and the rest, are mere skilled dialectics.