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Introductory Note
Introductory Note
Robert Browning stands, in respect to his origin and his career, in
marked contrast to the two aristocratic poets beside whose dramas his "Blot in
the `Scutcheon" is here printed. His father was a bank clerk and a dissenter
at a time when dissent meant exclusion from Society; the poet went neither to
one of the great public schools nor to Oxford or Cambridge; and no breath of
scandal touched his name. Born in London in 1812, he was educated largely by
private tutors, and spent two years at London University, but the influence of
his father, a man of wide reading and cultivated tastes, was probably the most
important element in his early training. He drew well, was something of a
musician, and wrote verses from an early age, though it was the accidental
reading of a volume of Shelley which first kindled his real inspiration. This
indebtedness is beautifully acknowledged in his first published poem,
"Pauline" (1833).
Apart from frequent visits to Italy, there is little of incident to
chronicle in Browning`s life, with the one great exception of his more than
fortunate marriage in 1846 to Elizabeth Barrett, the greatest of English
poetesses.
Browning`s dramatic period extended from 1835 to the time of his
marriage, and produced some nine plays, not all of which, however, were
intended for the stage. "Paracelsus," the first of the series, has been fairly
described as a "conversational drama," and "Pippa Passes," though it has been
staged, is essentially a poem to read. The historical tragedy of "Strafford"
has been impressively performed, but "King Victor and King Charles," "The
Return of the Druses," "Colombe`s Birthday," "A Soul`s Tragedy," and "Luria,"
while interesting in many ways, can hardly be regarded as successful stage-
plays. "A Blot in the `Scutcheon" was performed at Drury Lane, but its chances
of a successful run were spoiled by the jealousy of Macready, the manager.
The main cause of Browning`s weakness as a playwright lay in the fact
that he was so much more interested in psychology than in action. But in the
present tragedy this defect is less prominent than usual, and in spite of
flaws in construction, it reaches a high pitch of emotional intensity, the
characters are drawn with vividness, and the lines are rich in poetry.
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