she denounces him.  In the final scene occurs another wonderful touch of nature, a touch which reminds one of Desdemona’s “Nobody:  I myself,” in its divine and adorable self-sacrifice of truth.  Learning what Anael has done, Djabal is about to confess his imposture to the people, who are still under his fascination, when Anael, all her old love (not her old belief) returning upon her, cries with her last breath, “HAKEEM!” and dies upon the word.  The Druses grovel before him; as he still hesitates, the trumpet of his Venetian allies sounds.  Turning to Khalil, Anael’s brother, he bids him take his place and lead the people home, accompanied and guarded by Loys.  “We follow!” cry the Druses, “now exalt thyself!”

        “Dja. [bends over ANAEL.] And last to thee! 
      Ah, did I dream I was to have, this day,
      Exalted thee?  A vain dream—­has thou not
      Won greater exaltation?  What remains
      But press to thee, exalt myself to thee? 
      Thus I exalt myself, set free my soul!

[He stabs himself; as he falls, supported by KHALIL and LOYS, the Venetians enter:  the ADMIRAL advances.

Admiral.  God and St. Mark for Venice!  Plant the Lion!

[At the clash of the planted standard, the Druses shout and move tumultuously forward, LOYS, drawing his sword.

Dja. [leading them a few steps between KHALIL and LOYS.] On to the Mountain!  At the Mountain, Druses! [Dies.]”

This superb last scene shows how well Browning is able, when he likes, to render the tumultuous action of a clashing crowd of persons and interests.  The whole fourth and fifth acts are specially fine; every word comes from the heart, every line is pregnant with emotion.

9.  A BLOT IN THE ’SCUTCHEON:  A Tragedy in Three Acts.

[Published in 1843 as No.  V. of Bells and Pomegranates, written in five days (Poetical Works, 1889, Vol.  IV., pp. 1-70).  Played originally at the Theatre Royal, Drury Lane, February 11, 1843 (Mildred, Miss Helen Faucit; Lord Tresham, Mr. Phelps).  Revived by Mr. Phelps at Sadler’s Wells, November 27, 1848; played at Boston, U.S., March 16, 1885, under the management of Mr. Lawrence Barrett, who took the part of Lord Tresham; at St. George’s Hall, London, May 2, 1885, and at the Olympic Theatre, March 15, 1888, by the Browning Society; and by the Independent Theatre at the Opera Comique, June 15, 1893.  The action takes place during two days.]

A Blot in the ’Scutcheon is the simplest, and perhaps the deepest and finest of Browning’s plays.  The Browning Society’s performances, and Mr. Barrett’s in America, have proved its acting capacities, its power to hold and thrill an audience.[21] The language has a rich simplicity of the highest dramatic value, quick with passion, pregnant with thought and masterly in imagination; the plot