Of the unfinished plays, as they are printed in his works, there is little to be said. _La Sainte Courtisane_ is a beautiful fragment, suggesting a story rather intellectual than emotional, but an admirable framework on which to drape a cloak of imagery. The motive is the same as that of _The Portrait of Mr. W. H._ The woman covered with jewels is converted by the hermit to the love of God, and he by her to the love of the flesh. They lose their own beliefs in imparting them, and the hermit goes to Alexandria, while the woman remains in the desert. The dialogue is of the same character as that of _Salome_, which we shall presently discuss. We cannot tell how fine a play it might have been. _The Florentine Tragedy_ is less fragmentary. As Wilde left it, it was the latter part of a play in one act in blank verse, beginning with the surprisal of the lovers by the husband. The whole of the conversation between the three had been written. To fit the play for presentation on the stage, Mr. Sturge Moore wrote a preparation for it that cannot be far different from Wilde's design, and is now printed with the rest. It is not the business of this book to consider the brilliant and vigorous poetry of Mr. Sturge Moore, though it is impossible not to remember with delight passages from many of his books, always rich in ore, and again and again melting into purest gold. His induction to Wilde's play is perfectly calculated. He catches the spirit of Wilde's verse, and subdues his own to agreement. His is the difficult task of so drawing Bianca's character that she shall be able without incongruity to beg the young lord to kill her husband, and, when the young lord is himself killed, to come dazed towards the merchant she has despised, with the question-- "Why Did you not tell me you were so strong?" and receive the answer-- "Why Did you not tell me you were beautiful?" Wilde's is a piece of cumulative drama that keeps up an increasing tension in the audience from the moment that the husband enters till the moment when the lover dies and those two sentences are spoken. The play resembles _The Duchess of Padua_ in being unable to disguise an aloof intention, an extraneous will-power, that is perfectly hidden in the earlier _Salome_.