Page:Papers on Literature and Art (Fuller).djvu/229

Rh BELLS AND POMEGRANATES: By. No. VIII and last. Luria and a Soul's Tragedy. London: Moxon, Dover-st. 1846. closing this series of dramatic and lyrical sketches, Browning explains his plan and title thus:

That the poet should have supposed the symbol would be understood at once, marks the nature of his mind, a mind which soars in the creative element, and can only be understood by those who are in a state of congenial activity.

The two pieces before us display, or rather betray, a deep and growing acquaintance with the mysteries of the breast. If one tithe of what informs this little pamphlet were brought out into clear relief by the plastic power of a Shakspeare, the world would stand transfixed before the sad revelation.

In the first piece, Luria, a Moor, is put in command of the Florentine army against Pisa; but spies are set around him, and the base mistress sits in trial on the hero she has won by smiles to fight her battles. His great, simple, fiery nature is captivated by the grace, deep sagacity and self-possession of the Florentines. He glows with delight at feeling in himself the birth of a more intellectual life beneath their influence. But when he finds the treachery hid beneath all this beautiful sculptured outside, he stands amazed, not lost, not overwhelmed, but unable to meet or