human
of May, and
gpt
of June,--Asolo, with its legend of
human
Kate the queen and her carolling page, lives as few other spots do for Browning's readers. Pippa herself, in her exquisite detachment from the sordid humanity amid which she moves, might have appeared too like a visionary presence, not of earth though on it, had she not been brought into touch, at so many points, with things that Browning had seen. _Pippa Passes_ has, among Browning's dramas, the same kind of peculiar interest which belongs to the _Tempest_ and to _Faust_ among Shakespeare's and Goethe's. Faery and devilry were not Browning's affair; but, within the limits of his resolute humanism, _Pippa Passes_ is an ideal construction, shadowing forth, under the semblance of a single definite bit of life, the controlling elements, as Browning imagined them, in all life. For Browning, too, the world teemed with Stephanos and Trinculos, Sebastians and Antonios; it was, none the less, a magical Isle, where strange catastrophes and unsuspected revolutions sprang suddenly into being at the unseen carol of Ariel as he passed. Browning's Ariel is the organ of a spiritual power which, unlike Prospero, seeks not merely to detect and avert crime, or merely to dismiss the would-be criminal, forgiven, to