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spared that lord of fluff and feather； Courtenay； and she spared
Elizabeth。 Lady Jane she could not save； the girl who was a queen by
grace of God and of her own royal nature。 But Mary will never be
pardoned by England。 〃Few men or women have lived less capable of
doing knowingly a wrong thing；〃 says Mr Froude； a great admirer of
Tennyson's play。 Yet； taking Mr Froude's own view； Mary's abject and
superannuated passion for Philip； her ecstasies during her supposed
pregnancy； 〃the forlorn hours when she would sit on the ground with
her knees drawn to her face；〃 with all her 〃symptoms of hysterical
derangement； leave little room； as we think of her； for other
feelings than pity。〃 Unfortunately； feelings of pity for a person so
distraught； so sourly treated by fortune； do not suffice for tragedy。
When we contemplate Antigone or OEdipus； it is not with a sentiment
of pity struggling against abhorrence。
For these reasons the play does not seem to have a good dramatic
subject。 The unity is given by Mary herself and her fortunes； and
these are scarcely dramatic。 History prevents the introduction of
Philip till the second scene of the third act。 His entrance is
manque； he merely accompanies Cardinal Pole； who takes command of the
scene； and Philip does not get in a word till after a long
conversation between the Queen and the Cardinal。 Previously Philip
had only crossed the stage in a procession； yet when he does appear
he is bereft of prominence。 The interest as regards him is
indicated； in Act I。 scene v。； by Mary's kissing his miniature。 Her
blighted love for him is one main motive of the tragedy； but his own
part appears too subordinate in the play as published。 The interest
is scattered among the vast crowd of characters； and Mr R。 H。 Hutton
remarked at the time that he 〃remains something of a cold； cruel； and
sensual shadow。〃 We are more interested in Wyatt； Cranmer； Gardiner；
and others； or at least their parts are more interesting。 Yet in no
case does the interest of any character； except of Mary and
Elizabeth； remain continuous throughout the play。 Tennyson himself
thought that 〃the real difficulty of the drama is to give sufficient
relief to its intense sadness。 。 。 。 Nothing less than the holy calm
of the meek and penitent Cranmer can be adequate artistic relief。〃
But not much relief can be drawn from a man about to be burned alive；
and history does not tempt us to keen sympathy with the recanting
archbishop； at least if we agree with Macaulay rather than with
Froude。
I venture to think that historical tradition； as usual； offered a
better motive than exact history。 Following tradition； we see in
Mary a cloud of hateful gloom； from which England escapes into the
glorious dawn of 〃the Gospel light；〃 and of Elizabeth； who might be
made a triumphantly sympathetic character。 That is the natural and
popular course which the drama might take。 But Tennyson's history is
almost critical and scientific。 Points of difficult and debated
evidence （as to Elizabeth's part in Wyatt's rebellion） are discussed。
There is no contest of day and darkness； of Truth and Error。 The
characters are in that perplexed condition about creeds which was
their actual state after the political and social and religious chaos
produced by Henry VIII。 Gardiner is a Catholic； but not an
Ultramontane； Lord William Howard is a Catholic； but not a fanatic；
we find a truculent Anabaptist； or Socialist； and a citizen whose
pride is his moderation。 The native uncritical tendency of the drama
is to throw up hats and halloo for Elizabeth and an open Bible。 In
place of this； Cecil delivers a well…considered analysis of the
character of Elizabeth
〃Eliz。 God guide me lest I lose the way。
＇Exit Elizabeth。
Cecil。 Many points weather'd； many perilous ones；
At last a harbour opens； but therein
Sunk rocksthey need fine steeringmuch it is
To be nor mad； nor bigothave a mind …
Nor let Priests' talk； or dream of worlds to be；
Miscolour things about hersudden touches
For him； or himsunk rocks； no passionate faith …
Butif let bebalance and compromise；
Brave； wary； sane to the heart of hera Tudor
School'd by the shadow of deatha Boleyn； too；
Glancing across the Tudornot so well。〃
This is excellent as historical criticism； in the favourable sense；
but the drama； by its nature； demands something not critical but
triumphant and one…sided。 The character of Elizabeth is one of the
best in the play； as her soliloquy （Act III。 scene v。） is one of the
finest of the speeches。 We see her courage； her coquetry； her
dissimulation； her arrogance。 But while this is the true Elizabeth；
it is not the idealised Elizabeth whom English loyalty created； lived
for； and died for。 Mr Froude wrote； 〃You have given us the greatest
of all your works；〃 an opinion which the world can never accept。
〃You have reclaimed one more section of English History from the
wilderness； and given it a form in which it will be fixed for ever。
No one since Shakespeare has done that。〃 But Mr Froude had done it；
and Tennyson's reading of 〃the section〃 is mainly that of Mr Froude。
Mr Gladstone found that Cranmer and Gardiner 〃are still in a
considerable degree mysteries to me。〃 A mystery Cranmer must remain。
Perhaps the 〃crowds〃 and 〃Voices〃 are not the least excellent of the
characters； Tennyson's humour finding an opportunity in them； and in
Joan and Tib。 His idyllic charm speaks in the words of Lady Clarence
to the fevered Queen； and there is dramatic genius in her reply：…
〃Mary。 What is the strange thing happiness？ Sit down here：
Tell me thine happiest hour。
Lady Clarence。 I will； if that
May make your Grace forget yourself a little。
There runs a shallow brook across our field
For twenty miles； where the black crow flies five；
And doth so bound and babble all the way
As if itself were happy。 It was May…time；
And I was walking with the man I loved。
I loved him； but I thought I was not loved。
And both were silent； letting the wild brook
Speak for ustill he stoop'd and gather'd one
From out a bed of thick forget…me…nots；
Look'd hard and sweet at me； and gave it me。
I took it； tho' I did not know I took it；
And put it in my bosom； and all at once
I felt his arms about me； and his lips …
Mary。 O God！ I have been too slack； too slack；
There are Hot Gospellers even among our guards …
Nobles we dared not touch。 We have but burnt
The heretic priest； workmen； and women and children。
Wet； famine； ague； fever； storm； wreck； wrath； …
We have so play'd the coward； but by God's grace；
We'll follow Philip's leading； and set up
The Holy Office heregarner the wheat；
And burn the tares with unquenchable fire！〃
The conclusion； in the acting edition； printed in the Biography；
appears to be an improvement on that in the text as originally
published。 Unhappy as the drama essentially is； the welcome which Mr
Browning gave both to the published work and to the acted play〃a
complete success〃： 〃conception； execution； the whole and the parts；
I see nowhere the shadow of a fault〃offers 〃relief〃 in actual human
nature。 〃He is the greatest…brained poet in England；〃