. Robert Browning . From a drawing by Byam Sham FRA LIPPO LIPPlReproduced from Poems by Robert Browning, by kind permission ofl Messrs. George Bell & Sons) ROBERT BROWNING 21 THAT MEN MAY ADMIRE. From a draining by Philip Connard THE STATUE AND THE BUST(Reproduced from The Statue and the Bust, by kind permission of Mr. John Lane) different metres as there are different poems. The truth is that,as Tennyson said, Browning never cared greatly for form, andnever invented any new metres. The central paradox of Mr. Chestertons monograph on Browningis its masterly avoidance of Brownings poetry, and i
. Robert Browning . From a drawing by Byam Sham FRA LIPPO LIPPlReproduced from Poems by Robert Browning, by kind permission ofl Messrs. George Bell & Sons) ROBERT BROWNING 21 THAT MEN MAY ADMIRE. From a draining by Philip Connard THE STATUE AND THE BUST(Reproduced from The Statue and the Bust, by kind permission of Mr. John Lane) different metres as there are different poems. The truth is that,as Tennyson said, Browning never cared greatly for form, andnever invented any new metres. The central paradox of Mr. Chestertons monograph on Browningis its masterly avoidance of Brownings poetry, and its no lessmasterly pursuit of Brownings prose. And yet this paradox isnot so paradoxical as it seems, for although there is a silver liningof poetry in Brownings genius, the fabric of his genius is is at his best when he is least poetical; he is at his worstwhen he is most poetical. When he is lyrical he is often undis-tinguished ; when he is ethical he is nearly always has wit, but httle imagination. He has intellectual subtlety,but little verbal witchery. He can always preach a sermon, buthe can seldom sing a song. He has analytical humour, but littlepoetical gl
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