It is noticeable also that with this series closed Browning's serious attempts at dramatic composition for the stage. It would almost seem as if he finally parted company with theatrical managers, partly because of the constant difficulty he had in making them subordinate to his purpose, partly and no doubt more profoundly because his own genius, bent as it was upon the interpretation of spiritual phenomena, could ill brook the demands of the acted drama that all this interpretation should stop with visible, intelligible, and satisfactory action, capable of histrionic expression. Browning's eager penetration of the arcana of life was too absorbing to permit him to call a halt when the actor on the stage could go no farther. An example of the practical difficulties he encountered with managers will be found in the vicissitudes of _A Blot in the 'Scutcheon_, which was put on the stage in 1843 and formed the fifth in the series of _Bells and Pomegranates_. Browning has himself told the story of his misfortunes so fully and so graphically in a letter to Mr. Frank Hill, editor of the _London Daily News_, forty years after the event, that it seems worth while to introduce it here. The letter, from which the following passage is taken, was dated 19, Warwick Crescent, December 15, 1884; and was written in consequence of a paragraph concerning the revival of the play, which Mr. Hill had sent in proof to Browning, from a doubt he felt of its accuracy:-- "Macready received and accepted the play, while he was engaged at the Haymarket, and retained it for Drury Lane, of which I was ignorant that he was about to become the manager; he accepted it 'at the instigation' of nobody,--and Charles Dickens was not in England when he did so: it was read to him after his return by Forster--and the glowing letter which contains his opinion of it, although directed by him to be shown to myself, was never heard of nor seen by me till printed in Forster's book some thirty years after. When the Drury Lane season began, Macready informed me that he should act the play when he had brought out two others--_The Patrician's Daughter_, and _Plighted Troth_. Having done so, he wrote to me that the former had been unsuccessful in money-drawing, and the latter had 'smashed his arrangements altogether,' but he would still produce my play. I had--in my ignorance of certain symptoms better understood by Macready's professional acquaintances--no notion that it was a proper thing, in such a case, to 'release him from his promise;' on the contrary, I should have fancied that such a proposal was offensive. Soon after, Macready begged that I would call on him; he said the play had been read to the actors the day before, and 'laughed at from beginning to end;' on my speaking my mind about this, he explained that the reading had been done by the prompter, a grotesque person with a red nose and wooden leg, ill at ease in the love scenes, and that he would himself