It has, of course, been objected that philosophical and ethical problems are not fit subjects for discussion in poetry. It should be remembered, however, that there is one point the critic of AEsthetics has not yet learned to realize; namely, that the law of evolution is differentiation, in art as well as in cosmic, organic, and social life. It is just as prejudiced and unforeseeing in these days to limit poetry to this or that subject, or say that nothing is dramatic that does not deal with immediate action, as it would have been for Homer to declare that no poem would ever be worthy the name that did not contain a catalogue of ships. These facts exist! We have dramas dealing merely with action, dramas, in which character development is of prime importance; dramas, wherein action and character are entirely synchronous; and those in which the action means more than appears upon the surface, like Hauptmann's 'Sunken Bell,' or Ibsen's 'Master Builder,' then why not dramas of thought and dramas of mood when the brain and heart become the stage of action instead of an actual stage. Surely, such dramas are a natural development of this Nineteenth Century. As the man in 'Half Rome' says "Facts are facts and lie not, and the question 'How came that purse i' the poke o' you admits of no reply.'" Art has a great many forms of drama in its poke already, so we would better be careful how we make authoritative statements on the subject. Another advantage, gained from the dramatic form and this is most important, is that the poet has been enabled by means of it to hold the mirror up to the turmoil of thought that has racked the brains and hearts of the last half of the Nineteenth Century. Victorian England in its thought phases lives just as surely in these poems as Renaissance Italy in its art phases in 'Fra Lippo Lippi,' 'Andrea del Sarto,' 'Pictor Ignotus' and 'The Bishop orders his Tomb at St. Praxed's;' and this is true though the first series is cast in the form of Persian Fables and the second, in the form of Parleyings with worthies of past centuries.