ABSTRACT
This is a publication intended to comprise a series of ‘dramatical pieces’ by the author of Paracelsus, and to appear at intervals; the object of the writer being to procure by such means their introduction to the stage. Allowance is to be made for every first number; especially when it exhibits only part of a play, and that part of necessity the least stirring in its action and the least interesting from its passion. But, judging with this qualification, the scheme of Mr. Browning is not likely to conduct to the wished-for end, unless he greatly change his mode of execution. In Pippa Passes (which title apparently means that Pippa, the heroine, only passes over the stage, talking to herself, and stimulating the conduct of others by her appearance,) though there is nearly enough letterpress for a short tragedy, we are merely introduced to the actors, and apparently not to all. So far as we have yet the means of judging, Pippa Passes is not a drama, but scenes in dialogue, without coherence or action; not devoid of good thoughts poetically expressed, but perfectly ineffective from being in a wrong place. Nor does the moral tone appear to be of the kind likely to be tolerated on the stage, or approved of anywhere. In one scene, a young wife and her paramour discuss their loves and the murder of the ‘old husband,’ needlessly, openly, wantonly, tediously, and without a touch of compunction, sentiment, or true passion. In another scene, common courtezans of the poorest class are introduced; one gloating, naturally enough perhaps, over what such people in England call a ‘blow-out,’ to which an admirer had lately treated her, and giving the recipe by which she wheedles her dupes. The story itself, as we gather from the last pages, will probably turn upon the endeavours of an uncle to get his niece, brought up as a peasant, (novel incident!) inveigled to Rome as a prostitute, in order that he may get possession of her property-novelty again!
