. The old yellow book, source of Browning's The ring and the . ofound importance to the spirit of man. In dealing with theplay of these three most important characters, the Poet has increasedvery considerably the comparative importance of the Caponsacchi ofthe Book. We turn now to a somewhat more extended study of may remark by way of caution that practically every statement Inthe Book as regards any of the three Is biased—some of these state-ments are utterly false—and the student must not merely cite the wordsgiven, but like the judge must also weigh the evidence offered as to
. The old yellow book, source of Browning's The ring and the . ofound importance to the spirit of man. In dealing with theplay of these three most important characters, the Poet has increasedvery considerably the comparative importance of the Caponsacchi ofthe Book. We turn now to a somewhat more extended study of may remark by way of caution that practically every statement Inthe Book as regards any of the three Is biased—some of these state-ments are utterly false—and the student must not merely cite the wordsgiven, but like the judge must also weigh the evidence offered as to theircharacters. *Rossetti Papers, p. 401, July 4, 1869: Browning talked about an article in Temple Bar,saying that he, as shown in The Ring and the Book, is an analyst, and not a creator, ofcharacter. This, Browning very truly says, is not applicable; because he has had to create,out of the mass of almost equally balanced evidence, the characters of the book as he con-ceives them, and it is only after that process that the analyzing method can come into p^^SSK— —. ^ 275 XX. Count Gutdo Franceschmi: We turn first to the consideration of Count Guido Franceschini. Heis the most elaborately and skilfully drawn of all Brownings bad men,and they are many. In his earlier works the Poet shows something ofthe natural historians interest in evil men—they are described andfaithfully reproduced without comment or moralizing. The Labor-atory, The Confessional, Ottima and Sebald, A Souls Tragedy, InstansTyrannus, and Porphyrias Lover, all present the criminal in this Poet also dwells at times with curious analysis—we may almostsay sophistry—upon the obliquely and erratically bad, as in Sludge, theMedium. Later on, however, the bad man took a definite place In thePoets doctrine, both theological and philosophical. His earlier keenintellectual enjoyment in mere objective presentation, or subsequentlyin the analysis of the motive of a bad heart, gave way to a sens
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