They ought to have felt, being wiser than other men in poetry, that they had no true dramatic capacity.

Other poets who also tried the drama did know themselves better.

Byron wrote several dramas, but he made little effort to have them represented on the stage.

He felt they were not fit for that; and, moreover, such scenic poems as _Manfred_ and _Cain_ were not intended for the stage, and do not claim to be dramas in that sense.

To write things of this kind, making no claim to public representation, with the purpose of painting a situation of the soul, is a legitimate part of a poet's work, and among them, in Browning's work, might be classed _In a Balcony_, which I suppose his most devoted worshipper would scarcely call a drama.
Walter Scott, than whom none could conduct a conversation better in a novel, or make more living the clash of various minds in a critical event, whether in a cottage or a palace; whom one would select as most likely to write a drama well--had self-knowledge enough to understand, after his early attempts, that true dramatic work was beyond his power.
Wordsworth also made one effort, and then said good-bye to drama.
Coleridge tried, and staged _Remorse_.