The dramatic we believe to be the highest form of poetry, because it alone attempts to portray life itself, life in action; it is not a description, however magnificently done, of life. There lies between it and all other forms of poetry the difference that exists between the painting of a hero and the hero himself. The one is the man, thinking, living, moving, breathing, speaking his thoughts, doing his deeds; the other after all is only an image, more or less vivid, of him on canvas. It may catch the color of the eye, the expression of the countenance, the texture of the dress, the shape, the form; but at the very best it is a picture, no more, infinitely removed from the reality.
If this be a right conception of the difference between dramatic and all other kinds of poetry—and it seems to us to be, although it might need more elaboration to impress it upon the reader’s mind—it will be plain that the dramatic poet needs nothing short of the highest inspiration in order to make him catch the very breathings of men’s souls and throw them into living forms, as truly as the master actor loses his own personality and lets it sink or become absorbed utterly in the various characters he portrays. No mere change of costume will effect the metamorphosis needed to impress the spectator with the reality of the change in character. In the same way no clipping of a poem into acts and scenes, and no allotting of certain lines to certain different names, will convert a descriptive poem into a drama. All the world will at once detect the fraud or the inherent defect.
A not uncommon phase of an exasperated mind is to refuse to recognize failure. Tennyson tried again, rather hastily, and in the same direction, with the satisfactory result of making a more disastrous failure than before. The blunder of _Queen Mary_ has been emphasized in _Harold_. The first named may have left some minds in doubt whether or not its author could construct a drama; the production of the second has effectually set all such doubts at rest. The critics who in the first instance were kind are in the second cruel. We have rarely seen a more general and resolutely contemptuous dealing with the pretensions of any writer at all than in the treatment which _Harold_ has received at the hands of critics of every shade of opinion, English as well as American.