Life of Robert Browning
ning himself it was the abrupt, the too deeply pathetic, yet not wholly unhappy ending of
estered earlier. The sweetest music of his life had withdrawn: but there was still music for one to whom life in itself was a happiness. He had his son, and was not void of ot
he noble poem to which allusion has already been made: "Prospic
ll become first a
ht, then t
y soul! I shall
God be
ost beautiful is "One Word More", which has been already quoted in part: of the two or three subs
nliness and wealth of all generous qualities one is inclined to pass by as valueless, as the mere flying spray of the welcome shower, the many honours and gratifications that befell him. Even if these things mattered, concerning one by whose genius we are fascinated, while undazzled by the mere accidents pertinent thereto, their recital would be wea
en together, and so regular attendants were they at such functions as the "Private Views" at the Royal Academy and Grosvenor Gallery, that these never seemed complete without them. A Private View, a first appearance of Joachim or Sarasate, a first concert of Richter or Henschel or Halle, at each of these, almos
e issued in six volumes. Here the equator of Browning's genius may be drawn. On the further side lie the "Men and Women" of the period anterior to
somewhat turbid current of the Loire, the poet brooded on those days when he saw its inland waters with her who was with him no longer save in dreams and memories. Here he wrote that stirring poem, "Herve Riel", founded upon the valorous action of a French sailor who frustrated the naval might of England, and claimed nothing as a reward save permission to have a holiday on land
ic, the heterodox self-sophistication of a free-thinker, according to another: really, the reflex of a great crisis, that of the first movement of the tide of religious thought to a practically limitless freedom. This edition also contained "Bishop Blougram", then much discussed, apart from its poetic and intellectual worth, on account of its supposed verisimilitude in portraiture of Cardinal
f being wilfully obscure, unconscientiously careless, or perversely harsh." At or about the date of these "Selections" the poet wrote to a friend, on this very point of obscurity, "I can have little doubt that my writing has been in the main too hard for many I should have been pleased to communicate with; but I ne
th the additional company of Miss Anne Egerton Smith, an intimate and valued friend. But there was an unhappy close to the holiday. Miss Smith died on the night of the fourteenth of Se
line which might stand
ieved in Soul, was
and partly written at the little French village ten years previously. There is nothing of the eight-scor
tarved ba
hat Ma
the fla
s were
ough detached lines are often far from truly indicative of the real poetic status of a long poem, where proportion and harmony are of more importance than casual exfoliations of
days, scar
ilding apple, redden r
at sunset, towering over icy
is earth-brood, needles
gs of crystal set on
n swinging himself above
agnific, thrilled her bl
, this soun
regated peace of home
ishtah's Fancies" and "Parleyings" are not, collectively, dramatic poems, but poems of illuminative insight guided by a dramatic imagination.* They, and the classical poems and translations (renderings, rather, by one whose own individuality dominates them to the exclusion of that NEARNESS of the original author, which it
iend, Browning wrote:
l readings of the Poem
e clear enough. Ab
tiveness in any case
n disguise of a few Pers
n as Ferishtah - the st
quotations are pu
dgment that certain
the Concocters of Nov
discoveries o
hat, for different reasons, these three long poems are foredoomed to oblivion - not, of course, to be lost to the student of our literature and of our age, a more wonderful one even than that of the Renaissance, but to lapse from the general regard. That each will for a long time find appreciative readers is certain. They have a fascination for alert minds, and they have not infrequent ramifications which are worth pursuing for the glimpses afforded into an always evanishing Promised Land. "Prince Hohenstiel-Schwangau" (the name, by the way, is not purely fanciful, being formed from Hohen Schwangau, one of the castles of the late King of Bavaria) is Browning's complement to his
pies in the estimate of the poet's most uncompromising admirers. But surely equally rash is the assertion that it will be the "poem of the future". However, our concern is not with problematical estimates, but with the poem as it appears to US. It is one of the most characteristic of Browning's productions. It would b
anhood; and this contrast eventually found expression in a pathetic theory of life, in which these opposite types and their corresponding modes of attraction became the necessary complement of each other. As he laid down the theory, Mr. Browning would be speaking in
dren before a too elaborate conjurer, conclude that there is not so much in this particular poetic feat as in others which, like Herrick's maids, continually do deceive. To me this is affirmable of "Fifine at the Fair". The poet seems to know so very well what he is doing. If he did not take the reader so much into his confidence, if he would rely more upon the liberal grace of his earlier verse and less upon the trained subtlety of his athletic intellect, the charm would be the greater. The poem wou
earth began afres
med, and waves would
of weed, and str
take each a
se, in a sense, all creative art is rhythmic in kind: but here I am speaking only of that creative energy which evolves the germinal idea through the medium of language. The energy of the intellect under creative stimulus may produce lordly issues in prose: but poetry of a high intellectual order can be the outcome only of an intellect fused
stealth, and yet with certitude, a formidable change of the amphitheatre which held the Ca
uld reflect a tall, thin, pale, deep-eyed personage, pretty once, it may be, doubtless sti
ne" and poems of its kind stand re-reading, re-perusal over and over? That is one of the most definite tests. In the pressure of
excepting a few scattered noble passages) with the Prologue and Epilogue. A little volume of those Summaries of Bro
nd I cannot help thinking that ultimately the only gold grain discover
e time an
ved one al
h-like overtu
leafage, what
ng with nought
plete incomple
e blueness, per
but on
eauty
that w
ife, gr
s lo
iend, along with an e
at "the title is t
zmann'), reviewed, by
d' of this month
acelsus'. The two
ve look to what is me
ount to (1) `A Coll
From Moses to Moses arose
less grotesque absurdities, the members of the various English and American Browning Societies are yet to be congratulated on the good work they have, collectively, accomplished. Their publications are most interesting and suggestive: ultimately they will be invaluable. The members have also done a good work in causing some of Browning's plays to be produced again on the stage, and in
to me, who are busied about my books so disinterestedly. The exaggerations probably come of the fifty-years'-long charge of unintelligibility against my books; such reactions are possible, though I never looked for the beginning of one so soon. That there is a grotesque side to the thing is certain; but I
to come to dine; and he did his utmost to gratify Everybody. He saw everything; read all the notable books; kept himself acquainted with the leading contents of the journals and magazines; conducted a large correspondence; read new French, German, and Italian books of mark; read and translated Euripides and Aeschylus; knew all the gossip of the literary clubs, salons, and the studios; was a frequenter of afternoon-tea parties; and then, over and above it, he was Browning: the most profoundly subtle mind that has exercised itself in poetry since Shakespeare. His personal grace and charm of manner never failed. Whether he
rst experience of
earlier, that he wrote
he Sea", and that flawle
Abroad": then, als
od News". Concerning the
l 2nd), "There is no sor
I wrote it under th
after I had been at it
lop on the back of a ce
at home. It was
f Bartoli's `Simb
ere Gar
July
yesterday of dining with the Shah,
e^tes
is de me le di
vez fait d
de l
un, afin que je puisse
plai
e for whom I do not care three straws; why should I not venture to do as much for a young lady I love dearly, who, for the author's sake, will not impossibly care rather for the inside than the outside of the volume?" So
adds a phrase which, as observant acquaintances of the poet will agree, might be written of Br
poet's kindly attention - a letter which has a peculiar pathos in the words, "I shall soon depart for Venice, on my way homeward" - except for this letter there is none so well worth repeti
ere Gar
t 5th
y in your glory, and in its hope that for many and many a year we may have your very self among us - secure that your poetry will be a wonder
I had any other feeling, expressed or kept silent, than this which an opportunity allows me to utter -
hill-town in the Veneto, which he had visited in his yo
in His
ht with t
Grand Canal. He was never happier, more sanguine, more joyous, than here. He worked for three or four hours each morning, walked daily for about two hours, crossed occasionally to the Lido with his sister, and in the evenings visited friends or went to the opera. But for some time past, his heart - always phenomenally slow in its action, and of late ominously int
hodoxy' brought hi
c friends, some of wh
rine seriously. Such
hat he once stopped ne
anguing, and, in the fre
to the opinions uttere
ent Day' as a superst
hould there not be a set
es with his workmen at
in his tone and mann
eligious ideas and ideal
"Sordello", and it was the fundamental strain of all
g worm wit
er than a
is wor
e. He is as convinced of the two absolute facts of God and Soul as Cardinal Newman in writing of "Two and t
he ideal dawn s
se in tune with
aged, sits down at a crossing of the roads, utters cries to which no one responds, resumes his march with frenzy and pain, throws himself upon the ground and wants to die, and reaches home at last only after all sorts of anxieties and after sweating blood." No darkness, no tempest, no gloom, long confused his vision of `the ideal dawn'. As the carrier-dove is often baffled, yet ere long surely finds her way through smoke and fog and din to her far country home, so he too, however distraught, soon or late soared to untroubled ether. He had that p
the light of a world-wide fame. The silence to which the most eloquent of us must all one day lapse came upon him li
ce, all so characteristic of him - "this idle and often cowardly as well as ignorant harping! Why should we not change like everything else? In fiction, in poetry, in so much of both, French as well as English, and, I am told, in American art and literature, the shadow of death - call it what you will, despair, negation, indifference - is upon us. But what fools who talk thus! Why, `amico mio', you know as well
at memories, what deep thoughts, it must have suggested; how significant, to us, the circumstance! But weak as the poet was, he yet did not see the shadow which had begun to chill the hearts of the watchers. Shortly before the great bell of San Marco struck ten, he turned and asked if any news had come concerning "Asolando", published that day. His son
-
times afforded a more impressive sight, than those craped processional gondolas following the high flower-strewn funeral-barge through the thronged waterways and out across the lagoon to the desolate Isle of the Dead: that London has rarely seen aught more solemn than the fog-dusked Cathedral spaces, echoing at first with the slow tramp of the pall-bearers, and then with the sweet aerial music swaying upward the loved familiar words of the `Lyric Voice' hushed so long before. Yet the poet was a
where in the ancient Abbey. One of the greatest, loved and admired by the dead p
who waked the
ands the world
obs, our cry of
itten mortal,
it on Earth's
hence the way he
ree of Life t
ught that age or s
not Death: su
umination bri
art - to conque
nd the tyrant
weedy monster
k from springs o
rge Mer
, but mere weeds, with a certain pleasant though pungent savour moreover, growing upon a rich, an exuberant soil. Pluck one of the least lovely - rather call it the unworthy arrow shot at the bo
-
peared in Orion.* The coincidence is suggestive if we l
cted to the ch
steady pl
m us. Whither has it gone? To that new star in Orion: or whirled to remote silences in the trail of
utes this stateme
proved by the statement
en submitted; but
f translation, such
if it were true." -
rs of Robert Br
But this we know, it was indeed "a central fire descending upon many altars." These, though touched with but a spark of the immorta
archy Robert Browning will ultimately occupy. The commonplace as to the impossibility of prognosticating the ultimate slow decadence, or slower rise, or, it may be, sustained suspension, of a poet's fame, is often insincere, and but an excuse of indolence. To dogmatise were the height of presumption as well as of fo
nt involving the construction of a new definition. In the light of this new definition I think Browning will ultimately be judged. As the sculptor in "Pippa Passes" was the predestinated novel thinker in marble, so Browning himself appears as the predestinated novel thinker in verse; the novel thinker, however, in degree, not in kind. But I do not for a moment believe that his greatness is
eases." Browning cannot, or will not, face the problem of the future except from the basis of assured continuity of individual existence. He is so much in love with life, for life's sake, that he cannot even credit the possibility of incontinuity; his assurance of eternity in another world is at least in part due to his despair at not being eternal in this. He is so sure, that the intellectually scrupulous detect the odours of hypotheses amid the sweet savour of indestructible assurance. Schopenhauer says, in one of those recently-found Annotations of his which are so characteristic and so acute, "that which is called `mathematical certainty' is the cane of a blind man without a dog, or equilibrium in darkness." Browning would sometimes have us accept the evidence of his `cane' as all-sufficient. He does not entrench himself among conventions: for he already finds himself within the fortified lines
ailure here but a
lness of t
the conclusion is, i
f life. Veil after veil is torn down, but seldom before another has been slipped behind it, until we acquiesce without a murmur in the concealment that we ourselves have made. Two facts thus carefully shrouded from full vision by elaborate illusion conspicuously round in our lives - the life-giving and life-destroying elements, Sex and Death. We are compelled to occasional physiologic and economic discussion of the one, but we shrink from recognising the full extent to which it bases the whole social fabric, carefully concealing its insurrections, and ignoring or misreading their lessons. The other, in certain aspects, we are compelled to face, but to do it we tipple on illusions, from our cradle upwards, in dread of the coming grave, purchasing a drug for our poltroonery at the expense of our sanity. We uphold our wayward steps w
arted su
they who fi
s from the ha
l, having that in it which conserves it against the antagonism of time, and the ebb and flow of literary ideals. Wha
the very impetuosity of this mental energy to which is due the miscalled obscurity of much of Browning's work - miscalled, because, however remote in his allusions, however pedantic even, he is never obscure in his thought. His is that "palace infinite which darkens with excess of light." But mere excess in itself is nothing more than symptomatic. Brow
s, who
cafoli's stark
nnets spoilt
stud some alm
, wry thence, a
eyelids of a
' the slime when
Y, tha
med ever more alert to the substance than to the manner of poetry. In a letter of Mrs. Browning's she alludes to a friend's "melodious feeling" for poetry. Possibly the phrase was accidental, but it is significant. To inhale the vital air of poetry we must love it, not merely find it "interesting", "suggestive", "soothing", "stimulative": in a word, we must have a "melodious feeling" for poetry before we can deeply enjoy it. Browning, who has so often educed from his lyre melodies and harmonies of transcendent, though novel, beauty, was too frequently, during composition, without this melodious feeling of which his wife speaks. The distinction between literary types such as Browning or Balzac on the one hand, and Keats or Gustave Flaubert on the other, is that with the former there exists a reverence for the vocation and a relative indifference to the means, in themselves - and, with the latter, a scrupulous respect for the mere means as well as for that to which they conduce. The poet who does not love words for themselves, as an artist loves any chance colour upon his palette, or as the musician any vagrant tone evoked by a sudden touch in idleness or reverie, has not entered into the full inheritance of the sons of Apollo. The writer cannot aim at beauty, that which makes literature and art, without this heed - without, rather, this creative anxiety: for it is certainly not enough, as some one has sai
Childe Roland' was w
posed in one. Browning's
Return of the Druses"
also, was "A Blot
r technicalities of that elaborate ART so needful in the building up of monuments for immortality. But has not a greater than Poe declared that "what distinguishes the artist from the amateur is `architectonike' in the highest sense; that power of executi
too willing to protest against the uncritica
Coleridge, at his highest the most perfe
would, dismiss
e - and there tri
' the mast
hod. He is, among poets, what Wagner is among musicians; as Shakespeare may be likened to Beethoven, or Shelley to Chopin. The common assertion as to his incapacity for metric music is on the level of those affirmations as to his not being widely accepted of
rchbishop in Horne's "Gregory VII.", "He owes it all to his Memnonian voice! He has no genius:" or of declaring, as Prospero says of Caliban in "The Tempest", "He is as disproportioned in his manners as in his shape:" how much better to affirm of him what Ben Jonson wrote of Shakespeare, "
enhauer declares it is all a question of style now with poetry; that everything has been sung, that everything has been duly cursed, that there is nothing left for poetry but to be the glowing forge of words. He forgets that in quintessential art there is nothing of the past, nothing old: even the future has part therein only in that the present is always encroaching upon, becoming, the future. The famous pessimistic philosopher has, in common with other critics, made, in effect, the same remark - that Style exhales the odour of the soul: yet he himself has indicated that the strength of Shakespeare lay in the fact that `he had no taste,' that `he was not a ma
r even the severest ablation of the poor and mediocre portion of Browning's life-work, how beneficent see
as, is, shall
with an add
feast - how gladly we listen to this poet with his serene faith in God, and immortal life, and the soul's unending development! "Hope hard in the subtle thing that's Spirit," he cries in the Prologue to "Pacchiarotto": and this
re is no more significant study than the human heart. "The development of a soul: little else is
cord from
, the sin
d's wide bo
d explain
ommon he
t whatever tide might bear him away from our regard for a time would ere long flow again. The reaction must come: it is, inde
el
in the twilig
stic day's ca
nd once more th
Genius on hi
ill do me r
ll it is more that of the Scandinavian Jarl
he triumph of his toil, is the beauty of his dream. It
ed his back but mar
ed clouds w
h right were worsted
rise, are baffle
to w
the last words of this brave soul. In truth, "
ife and light be
om us - years go
the young eart
come not - oth
ee - they stand
ks which tell s
rdless of neg
task complete
s, never t
-
de
book. The numbers in brackets are the number of mentions in the original index - as each
Vogle
ter
n of Aesc
, Lette
ibian
ona
del Sa
omeda
way of
to any H
nt Fail
aranc
Browning's
ile
anes' Apo
least word
land
lo
thenae
a Leig
n in 1812 [3]; his literary and artistic antecedents and contemporaries [1]; his parentage and ancestry [2]; concerning traces of Semitic origin [1]; his sisters [1]; his father [1]; his mother [2]; his uncle, Reuben Browning [1]; the Camberwell home [1]; his childhood [1]; early poems [1]; translation of the odes of Horace [1]; goes to school at Peckham [1]; his holiday afternoons [1]; "Death of Harold" [1]; criticisms of Miss Flower and Mr. Fox [1]; he reads Shelley's and Keats's poems [2]; he has a tutor [1]; attends Gower Street University College [1]; he decides to be a poet [1]; writes "Pauline", 1832 [1]; it is published in 1833 [1]; "Pauline" [1]; criticisms thereon [1]; Rossetti and "Pauline", studies at British Museum [2]; travels in 1833 to Russia [1]; to Italy [1]; return to Camberwell, 1834 [1]; and begins "Paracelsus", sonnet signed "Z", 1834 [1]; love for Venice [1]; "Paracelsus" [2]; criticisms thereon [2]; he meets Macready [1]; "Narses" [1]; he meets Talfourd, Wordsworth, Landor [1]; "Strafford" [1]; his dramas [1]; his love of the country [1]; "Pippa Passes" [2]; "Sordello" [1]; origin of "The Ring and the Book", 1865 [1]; "The Ring and the Book" [1]; "The Inn Album" [1]; "Men and Women" [1]; proposed "Transcripts from Life" [1]; "Flower o' the Vine" [1]; correspondence between him and Miss Barrett [1]; meeting in 1846 [1]; engagement [1]; marriage, 12th September 1846 [1]; sojourn in Pisa [1]; they go to Florence [1]; to Ancona, via Ravenna [1]; "The Guardian Angel" [1]; Casa Guidi [1]; birth of son, March 9th, 1849 [1]; they go to Vallombrosa and Bagni di Lucca for the autumn, and winter at Casa Guidi [1]; spring of 1850 in Rome [1]; "Two in the Campagna" [1]; 1851, they visit England [1]; description of Browning [1]; winter 1851-2 in Paris with Robert Browning, senior [1]; Browning writes Prefato
upon Se
erwe
e, Tho
Gui
ier Tu
e Rola
pin
Eve and Eas
eon
ridg
's Birth
nfessio
essio
terary and artisti
, Monc
stin
and Manald
ham, Al
te
Brownin
of Haro
in the De
oe
ustib
s, Cha
er Visum"
lfred (Wa
Browni
tic Id
ic Roma
is Pers
ch Wo
Immortali
etlo
es of monod
rowning's ge
yn Ho
ace"
Miss H
ah's Fan
at the F
t, Gust
f the Duc
ower's
o' the
Sarah (afterw
givene
Artist
er, J
s. Brid
William
ppo Lip
all, D
rowning a
the
Hair
, Gene
, E.
rian's Fu
rdian An
t and H
e, Natha
assia",
ne
tic's Tra
iel" [2]
d, G.
Cross
ghts from
ghts from
Thom
, R.
on, Lo
ght the Good N
Vict
nte Aug
Balcon
Gondol
hensiven
Year
nn Alb
s Tyran
ian in En
, etc. - Influence
irst vis
tch" [2] ion on, M Lee's W d, Dou seria es Agri ber h, Epist ts n, Jo r and King and the Pa e on Bos Walter S aisia Ride Tog rois olf, portrait if', Brow a Girl F in a L ht Wom kenes st Lead ong the in a L r's Qua James Ru ria rson, eady al Nat Browni low onecraft and ues of Saxe nd Dea zin g at Ni rabil nd Wom th, Ge l, Wil aign imer ing's fundame ohn Stu nd, J ton ncepti rd, M h" [1] < y, Al Browning' t Duche Star ses" al Mag ning's obser ship, Time and th , Card it of the the Browni w" olepto y, Brown res in Flo ic Lov y of Lo ord Mo ning's [1] (an new sta . Suther y, Brown as our galle iarott Rezzon nd Lun celsu e Brownin eying at Morn , Wal line earl ippide r Igno er of Ham Passe sa h Sigh to dgar A , Ear cal Wo tics ilia Pop larit hyria s of Bro tty Wo ortance, Br enstiel-Sch ty, Brow spic Ben Ez own, Sonn Nightcap C us Opin han" n of the D erie mond and the Brownin e Browni e, W. sny Dante Ga und of in, , Visi e-Beu ul" ller , Peck enhau , Browning's Brownin , Dav , Sir at the V 's artistic r spear ley Letters, Schafnabu on, J the Me " [1]; "Round us the an I am" [1]; "You g o wish uns , Brown om the Port ello" owning a 's Trag ulati nfluence, B ue and th tin's Su , W. fford of Criti rne, A ourd tz edit , Baya on, Lo oman like a Brownin Metidja to Ab a of Galu kay at St. Pra Lat ne'er so orce, Poe pts from l, H. the Camp ts of Cr ity Col ice -makin ner re, F ster Ab he Leafage m the Wo ann, M 's Last Brownin and Ros it, Brownin swor wning's m etter from B the ho and A ned Son iogr nderson (Bri == Wor ingle ibutions t inted elec Appe y, Criti ne Art logical Lis - Wor new edition. Lo a Passes, a Drama; King olombe's Bir Scutcheon, a Tragedy; T dy; A Soul's Tragedy; Dra f Robert Browning. T , 1863 s; Romances; gedies and Christmas Eve and Robert Browning. 6 v ne; Paracelsu rdello; Pi r and King Charles rn of th cutcheon; Colombe's Birt gedy; Luria; Christm and Balcony; Dram Browning. A reprint from , 1872- icial Guide of the Ch Reprint and Robert Browning. 2 vol e "Tauchnitz Collectio Robert Browning. 16 vo Pauline; racelsus; ses; King Victor the Druses; A 'Scutcheon; Colombe's omances; Christmas amatic Lyr Balcony; Dram e Ring and the s Adventure; Prince at th on Nightcap Count es' Apology; The Ag nd how he worked in Dis amatic Idyl Fancies; Parleyings ingle schylus, transcribe , 1877 cript from Euripides, being the Last Adv and Facts. London, seventh from Euripides [i.e., a translation of the "Alc ates. 8 Nos. Londo ippa Pas ctor and King amatic Ly eturn of the t in the 'Sc ombe's Bir c Romances and ; A Soul's T aster Day. A poem. on: London in `Men 2 series. Lond ries now in sonae. Londo book were reprinte in vol. 13, 1864, viz. ` 4; `Under the Cli ition. Londo ancies. Londo third e e Fair. Lond `Dramatis Personae'. `Gold Hair' appeared in the Atlantic Monthly um. London, . London, third e o Poets of Croisic . 2 vols. Lon he worked in distem , 1876 . London, tain People of Impo logue between Apoll , 1887 t of a Confession. ve known copies e he Briti iginal edition of 1833 , 1886 were print lin, with 35 illustrat [1889 Dramatic Lyrics' (Bells 8 angau: Saviour of Soci untry; or Turf and Tow Book. 4 vols. Lon second London, he Bust. Moxon: in `Men torical tragedy. the North London Collegiate Scho ace by E. H. Hickey, and an introductio eth Barrett Browning , 1854 Plea for the Ragge ning, and "The Twins Arabella Barrett, f estitute Girls". "The nd Women" ibutions t thou know!)" Dated August 17, 1834; signed "Z". ( ed long ago." Signed "Z , 1835, pp. fresh lines and r a Passes ain set early in to ry', vol. 10 N.S., "There's Heaven above Repository', vol. 10 N `Johannes Agrico ates", No. 3, with the , wind? Wilt be appeas y', vol. 10 N.S., 1 d, in `Dramatis x stanzas of VI ncient Regime). ( 844, pp. matic Romances an o poems called "Fr Hood's Magazine', vo matic Romances an Flower's Name; II. Sibr ne', vol. 2, 18 matic Romances an (`Hood's Magazine', vol d, and with five Romances and Magazine', vol. 3, 1845, pp. 237-239.) Repri s. (`Hood's Magazine', v matic Romances an Bysshe Shelley. ssay, by Robert Browni s man and poet. [Being a reprint of the Introductory Essay to "Letters of P ixed to the volume of Letters of Shelley. E sdom. (`The Keeps (`The Keepsake' `Dramatis Per e. F. Leighton. 8 l Catalogue' cal Works', 1868, w matis P note to `Dram note to `Drama See note to `Dr e poetry of Elizabe Robert Browning.] 2 seri ll Magazine', vol. 2 cchiarotto and o e Lyric of Euripide P. Mahaffy, p. 116.) he Maiden said." (` . From the German by Clar [1879 y; quoted with sta Review', March 1, ety's Papers', written in an autograph album, Oct. 14, 1880. (`Century Magazine', vol. 25, 1882, pp. 159, 160.) i (dated "Venice the Committee of the Go rst page. (`Pall Mall owning Society's Pa ntury Magazine', vol. 27, 1884, p. 640.) Reprinted . Felix Moscheles. (`Pall Mall Gazette', Dec. 13, 1883, p. 6 mother, Helen, Countess of Gifford, on his estate at Clandeboye. (`Pall Mall Gazette', Dec. 28, 1883, p. 2.) Reprint Feast: Sonnet. (Dat g in the Album presented St. James's Ha d', April owning Society's Pa the Shaksperian Show, held at the Albert Hall, on May 29-31, 1884. Reprinted in th r Sermons and Addresses, . With a short introduc , 1884 et. (`Why I am a Liberal 1885, f this Century', edited ng Society's Pape Works of Elizabeth Barrett Brown w book yesterday." 12 lines, dated "July 8 inted [? April, 1841], dated " man Blanchard', pp. 6- 45) and Roccabella (1860). (`Autobiography, Memoir, and Lette dated Pisa, Dec. 4 [184 ned Robert and Eliza th Barrett Browning -3, 194-5.) Lon R.A., dated "Bagni di R.A.' By Alexander Gilch , 1855 1857"). (`Correspondence of Leigh Hunt, edited by his `The Daily News', dated his contribution to payment for a lyrica ws', Feb. r of `The Daily New the doctrine of the en neral'. (`Daily Ne sworth', dated "19 Warwick Crescent, Feb. 24, 1875." (`The Prose Works of William W o the Editor of `The Times', dated "19 Warwic rnivall. (`Academy well-Phillipps, and print 1889." Accompanied by a presentation copy of the 3rd vol. of the new is Time", etc., London, 1890, there Robert Browning", London, 1890, the Browning", London, 1891, includes a number of his elec e Poetical Works o and B. W. Procter.] Lo . A Selection from the , 1865 oetical Works of Robe 1872-8 Illustrated. Bo uthor, and explanatory notes. Edited by F. H. Ahn. Berlin, 1882, 8vo. . Holland. With an introduction by Mr ems selected from the w dman's "Victorian Poets" rk, 18 t Browning. With an introduction by from the poems of Robert Browning. With introduct d, with notes, by William J. Rolfe and the poetic and dramatic works of from Robert Browning. rk, 18 ink, and on one rt Browning and other writers. Edited by A. H. Mile Appe y, Criti - An Introduction to the , 1889 e Poetry of the Peri 38-76. Appeared origi 1869, pp. terary Studies. 2 vol nd Browning; or, Pure, vol. 2, pp. 338-390 Review', vol. 19, - Browning's Jews an ng of the Browning Soc , 1888 ety's Papers, Pt. The Religious Tea ing of the Browning So , 1882 iety's Papers, P - Browning as a of the Browning Socie , 1885 iety's Papers, P of Life. (Read at the 87.) London ety's Papers, Pt. his Time: His Religion, of Browning and portra . - Obiter Dicta. rity of Mr. Browning try. Outline Studies published for the Ch he Browning Society's 1881, et g's Masterpiece, pp. 89-109. A revised reprint of the Athenaeu meeting of the Browning Society, May 25, 1883.) London, 1 Rhythm of some o ing of the Browning S , 1886 iety's Papers, P wning's Women, etc. eting of the Browning Society, April 28, 1882.) London, 18 g of the Browning Society, Jan. 29, 1886. London, 1886 Calverley. - Fly Leave a Parody on `The Ring a An Introduction t purpose and method [1883 - Poets and Problems g, pp. Men of Mark, etc., ith photograph. Fi he Idea of Persona (Read at the 8th meeting 82.) London iety's Papers, P includ Robert Browning's Poetry. Boston, tudies New and Old. , Writer of Pla rative Estimate of , 1873 g, pp. nnyson and Mr. Browning. vered in . . . Dublin, 186 , 1869 's "Studies in Literat rature, 1789-1877. ace in recent lit nd Mr. Brownin and Studies. Lo s "Sordello", Popular Poets of 1888, et Alexander H. Japp, eting of the Browning Society, Feb. 26, 1886. London, 18 - Our Living Poets. owning, p - Studies in the Poet , 1887 revised and enlarge Modern Men of Letters , 1870 owning, p - Papers on Literat , 1846 Poems, pt. - A Bibliography of Robe 1881-8 ety's Papers, 188 some words on the characteristics and contrasts of th meeting of the Browning Society, Feb. 25, 1887. London, na Scripta. Studies of , 1885 ning, pp stic errors of our most distinguished living poe 48th meeting of the Browning Society, Feb. 25, 1887. London, rt Browning, concerning expressions respecting Halliwell-Phillipps, used by F. J. Furnivall in the dies of the Works of Eng , 1889 ning, vol. Poets in the Pulpit . New Year's Ev ce Hohenstiel-Schwang iety's Papers, P . - Nineteenth Century A [1889 Sordello. A Story f rk, 18 sca pirit of the Age. 2 vo h a portrait engrave ston, vol. 2, - Essays, Theologica , 1871 g, vol. 2, Edwin. - On "Bishop ing of the Browning S , 1882 iety's Papers, P Art in Browning. iety's Papers, P g of the Browning Society, March 27, 1885. London, 188 - Robert Browning: c ily to beginners in the s , 1887 graphical and other addi - The Works of Walter , 1846 t Browning", v . - Three Lectures o y, 188 Robert Brownin ge. - Orts. Lon hristmas Eve" and other Essays. hristmas Eve" says on English Litera ning and Landor ( e Religion of our Li rowning, Alfred Tennyson owning, p s and Selections from his diaries and letters. 2 vol apters on English Met owning, Chap. 1 btlety and Humour. (Read at the 24th Meeting of the Browning Society, April 25 ello. An outline analysi , 1889 - Essays on Robert , 1868 on. New York h Meeting of the Browning Society, Feb. 24, 1882. London, 1 f Browning's Works. iety's Papers, P specially in regard of mu ing of the Browning So , 1883 iety's Papers, P Browning's Genius in his ing of the Browning S , 1886 iety's Papers, P says on Poetry and Poe 56-282; Robert Brownin es and Queries. 7 Series eferences obert Browning. In M ham [18 erson. - Essays in L ter, 18 Childe Rolan e Notes on Browning's P ing of the Browning S , 1888 iety's Papers, P Read at the 55th Meeting 1888. Londo ety's Papers, Pt. - A Handbook to the Wo , 1885 on, revised. Lo f Browning's Poems. iety's Papers, P - Life and Letters of R ondon, 1891, 8vo. Now Love's Value. Colom Read at the 38th Meetin 86. London, iety's Papers, P - On Browning as ing of the Browning S , 1886 iety's Papers, P . - Leading cases coln's Inn [Frederick P , 1876 (1 Sm. L. C. 477.), Any A Parody ortrait. Vol. 1. , by G. Barnett rom a photograph tional Portrait Galler ith portrait), 4th iving Authors of Englan owning, p ving Authors of Brita owning, p - Illustrations t rtists and the picture , 1882 or the Brow ome prominent points ing of the Browning So , 1884 iety's Papers, P traits of Men of Emi ith biographical me 1863-6 ing, vol. 1, Browning's Poems on (Read at the 14th Meeting 883.) Londo iety's Papers, P ife. Address on Oct. 28, ety's Papers, Pt. rowning and the Art iety's Papers, P ls". Second series, 1880. (Read at the 2nd Meeting of the Browning Society, Nov. t the 20th Meeting of 83.) London iety's Papers, P e., John Skelton]. - , 1865 7-283. Appeared origina 1863, pp. nce. - Victorian Poet owning, p dition. Bost f the Browning Society, May 25, 1888. London, 1888, 8v on C. - The Works Translations. Lo v-xix of the "Essay and drama oets. The Heptalogia, or ndon, 1 . 9-39. A paro Meeting of the Browning Society, Jan. 30, 1885.) London, the Study of Brownin . Browning's last v ead at the 50th Meeting 887. London iety's Papers, P otes on the Genius ing of the Browning S , 1882 iety's Papers, P 19th Meeting of the Browning Society, Oct. 26, 1883.) London, the Strand Theat ing of the Browning S , 1888 iety's Papers, P of the Browning Society, June 22, 1883.) London, 1883, at the Annual Meeting o 4.) London, iety's Papers, P o's Story retold in pr 15th Meeting of the Browning Society, April 27, 1883.) London, some points in Brow e Cambridge Browning S ge, 188 owning Society's Paper Browning as a Teacher of ing of the Browning S , 1888 ety's Papers, Pt. ne Art ing, gazine, vol. 8, 1849 s, by J. Milsand, 15 A w, vol. 6, 1856, pp. 493 , by J. Milsand, vol. by J. Skelton, vol. 6 A Campaigner a by M. D. Conway, vol. iew, vol. 4, 1867, Magazine, vol. 5 N.S. , by Louis Etienne, tom al (with portrait) 1871, pp vol. 9 N.S., 18 by E. C. Stedman, vol. Browne, vol. 19, e, by T. Bayne, vol. agazine (with portrai -335, 4 by A. N. McNicoll, vol list, vol. 8, 1 by G. Barnett Smith, v on), by F. J. Furnival 1882, p . Morse, vol. 3, by Hon. Roden Noel, vol ll's Living Age, vo ly Review, vol. 8 J. Fuller Higgs, vol th portrait, Dec. 21, 1889 mund Gosse, Feb. thly, Feb. 189 , by the Rev. Stopfor 141- y Gabriel Sarrazin, F e, with portrait, F ew, by Ruth J. Pitt, e Rev. Professor Salmond, gustine Birrell, Jan by H. D. Traill, Ja ine, Jan. 189 Bridell-Fox, Feb. ne, by C. E. Rowe, gamem ew, vol. 147, 18 Oct. 27, 1877 . Symonds, Nov. 3, (Boston), vol. ur (with portraits), 1883, pp. 396-404. - Manha - Reader, by Gerald Massey, y. - London Quarterly Review hester Quarterly, by A. S. Wil ell. - New Englander, vo vol. 7 N.S., 1864, pp. 361-389. - her Way F. L. Turnbull, Sept. ophanes' Review, vol. 44, Symonds, April 17, pril 17, 1875, vol. 2, 1872, pp. 171-184, 305-319; same artic . John Rickaby, Feb. 1890, pp. 173-190. - Good ntleman's Magazine, by Mrs. Alexan me, by H. W. Massingha L. Courtney, vol. 33 N.S., 1883, pp. 888-900; same stion's A by Matthew Browne, vol. Dennett, vol. 13, Sidney Colvin, vol. 10 ew, vol. 135, 18 Review, vol. 37, Aug. 12, 1871 . E. Thompson, vol. by E. J. Hasell, vol. 3, pp. Oct. 1887, and Pome ancer, vol. 11 N.S. H. F. Chorley, vol. 2, wning 53, 1882, pp. 12, 13; vo Rev. W. A. O'Conor, vol. 3, 1877, pp. 12-25. - Critic (New York), by `Sangrail'. - Papers of the Manchester Literary as Eve and view, vol. 6, 18 e (from the Examiner) 4, by W. M. Ross ge MacDonald, vol. 1, n the Unit ton), by H. Corson, v he Brownings by E. C. Kinney, vol n Venice'. , Dec. 21, "Detach Jan. 4, 189 amatic y Grant Allen, vol. 26 y Mrs. Sutherland Orr, v ew, June 21, 18 ne, vol. 20 N.S., e, by T. Bayne, vol. 108- May 10, 1879, k Wedmore, May 10, July 10, 18 ld, July 23, 1 matis P e, by R. Bell, vol. 1 by T. F. Wedmore, vol. Magazine, vol. 64, E. Paxton Hood, vol. 7 y Writi . Gosse, vol. 23, shtah's Dec. 6, 1884, ew, vol. 58, 18 Dec. 6, 1884, Beeching, Dec. 13, York), Dec. 13 ne, vol. 3, 188 ne at th . C. Everett, vol. y Goldwin Smith, vol. vol. 37, 187 12, 1872, pp. 17, 18, a Sidney Colvin, vol. 12 ew, vol. 34, 18 rst P zine, vol. 7 N.S., uner lizabeth R. Chapman, F to the Wor Nettleship, vol. 2 ept. 26, 1885, ll Magazine, vol. 19 a Bal L. Mosely, May 1, Memo dmund W. Gosse, Ja nn Al by A. C. Bradley, vol. James, junr., vol. , by Bayard Taylor, vo Nov. 27, 1875 Symonds, Nov. 27, cember 11, 1875 ec. 11, 1875, - Speaker, by Henry James ocose W. J. Courthope, vol hly, vol. 51, 1 iew, vol. 4, 18 by R. H. Shepherd, vol Symonds, vol. 23, arch 24, 1883, ew, vol. 55, 18 March 17, 188 ngsla Opinion, '. `The Two Po . Simcox, vol. 13, May 25, 1878, ew, June 15, 18 ve Po by Arthur Sidgwick, Ma and Drama (Boston), Feb. n and ellany, vol. 39, y Review, vol. 23, l. 5 N.S., 18 ancer, vol. 31 N.S. S., 1857, Magazine, vol. 47, by G. Brimley, vol. 5 y Review, vol. 6 iew, vol. 9 N.S., Not W. Mortimer, Jan. Way of ), by C. R. Corson, July cchiar rd Dowden, July 29 July 22, 1876 arace , by John Forster, vol n Forster, Sept. 6 vol. 2, 1845 by W. J. Fox, vol. 9 N by J. Heraud, vol. ournal, vol. 2, by Philarete Chasles, t gs with Cert Opinion, Ma Paul by W. J. Fox, vol. 7 N , April 6, Mrs. Sutherland Orr, vol. 23, 1874, pp. 934-965; sam ys and , by J. R. Lowell, vol. Poe y Review, vol. 6, , vol. 26 N.S., 1 ine, vol. 18, 18 by C. C. Everett, vol. terly Review, vol. 3 ine, vol. 43, 18 Magazine, vol. 7, eview, vol. 34, 1 vol. 19, 1863, pp. 91- ew, vol. 17, 18 E. P. Hood, vol. 4 N S., 1864, ew, vol. 120, 18 by C. C. Everett, vo iew, vol. 118, cienze, Lettere ed Art 67, pp. Review, by J. Hu 1868, pp. fred Austin, vol. 2 170-186; vol. y Review, vol. 49, e, by E. J. Hasell, vo tic Magazine, vol. Living Age, vol. view, by the Hon. and 1878, pp iew, vol. 3, 18 ew, vol. 2, 188 Review, vol. 65, Hohenstiel- J. S. Sewall, vol. 3 c. 23, 1871, p A. Simcox, Jan. 1 rld, Jan. 5, ton Nightca Dennett, vol. 17, y Mrs. Sutherland Orr, v gazine, vol. 4, 1 May 10, 1873, g and t 868, pp. 875, 876; Marc ew, vol. 130, 18 , vol. 13 N.S., rnal, July 24, 1 y John Morley, vol. 5 N by J. A. Symonds, vol. . Mozley, p , by E. J. Cutler, vol. Dennett, vol. 8, zine, vol. 3, 18 by J. W. Chadwick, vol by James Thomson, vol. zine, vol. 2 N.S., 871, pp. 377-397; same ar and in Littell's Living A Review, vol. 51, ew, vol. 126, 18 Teachings of "The B. Hornbrooke, July cien ard Berdoe, Aug. 15 ection , by Frank T. Marzials, v rld, May 19, of Sonnets by Algernon C. Swinbur . A. Lewis, vol. 46, 1882, pp. 205-219; same arti onne ne, by Aubrey de Ver agazine, by Sir Theodore ords, vol. 4, onne by Benjamin Sagar, vol Sord e, by E. Dowden, v , by R. W. Church, vol ello' at th cation, July 1, s from, H Blaikie, vol. 22, fford: a iew, vol. 65, 1 tudy by Caroline Le Conte pp. 64 (Boston), vol. Sonne agazine, vol. 4 s of Wo Annie E. Ireland, erse rait), by William Sharp y Rev. H. D. Rawnsley, oem of 20 six-line stan ch p. 27-67; reprinted in "Literary Studies", 1879; same article, Eclectic Magazine, logical Lis 8 ul 8 ace 8 aff 8 rd 8 Bells and Pomeg 8 Charles. (Bells and (Bells and Pome ier T ching ive a Wife G and Ita Fr nd Clo mp (F ister ( Gon s Prol ri n Wo d the Lady Cris use C nnes Ag Porp h the Piper o 8 ruses. (Bells and P cheon. (Bells and P 8 y. (Bells and Pom 8 d Lyrics. (Bells and the Good News f r Ign in E nd in ost L st Mis ughts fr at St. n Fan Flower' dus Schafn e and Labor Confes ht of th Immort o and th and Mo t and . (P s Rev Gl 8 ragedy. (Bells and 8 Eve and 8 to Letters of Per 8 and l. ong the r's Qu yn H la - Down i n's La ippo ta of G e Fir to any tle of mer de at th S ns Ty tty W d to the Dark ctabi ght ue and t in a in a ikes a Con t Ride Patr gues of S lougram' rabi l. a del fo te hree a Y ures in Bal a ustib and ot Cross ardian eo Tw ula etic's the C arian's ay of r Way cenden ncept Word 8 is Per Lee' d H orst liter La Vo Ben in the upon S essi and spi h an Fa ike dge the ent F log 68 g and t 8 ion's A henstiel- 8 at th 8 n Nightca 8 hanes' Inn 8 to, and ot log cchia e "Me us h ights, I and Sc ral al Na rcat hole aran rtin's ted from Cornhill M rgiv cia o Bald log 8 mnon of A 8 The Two Poet 79 tic I ies in R dipp rt an Ivano r Br ies oe etl iv eyk o of tor and log 8 ose g is - na n and and Mon tonecraft ilith, io an Hak Time and mb 8 tah's log tah's he E lon-S hah he F The hrab amel-D wo C herr lot-C llar at ean-str e-Ea log 8 tain People of Impo the Fates - rnard de M Daniel Christop eorge Bubb Franci Gerard de h Charle his Friends 8 lan log sn bi o ili et um B rl, a ulat Witc Dr ehensi ic inal and e and t ean-F e-mou des and the l' Angelo ce Sig , with an A Augusto n lopm ph ve log - Scott, Felling, of Life of Brownin