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 The sweetest music of his life had withdrawn: but there was still music for one to whom life in itself was a happiness.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

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r Igno

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Passe

sa

h Sigh

to

dgar A

, Ear

cal Wo

tics

ilia

Pop

larit

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s of Bro

tty Wo

ortance, Br

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spic

Ben Ez

own, Sonn

Nightcap C

us Opin

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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

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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.

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nd Browning; or, Pure,

vol. 2, pp. 338-390

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he Browning Society's

1881, et

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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

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82.) London

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includ

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ace in recent lit

nd Mr. Brownin

and Studies. Lo

s "Sordello",

Popular Poets of

1888, et

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- Our Living Poets.

owning, p

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, 1887

revised and enlarge

Modern Men of Letters

, 1870

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, 1846

Poems, pt.

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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

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dies of the Works of Eng

, 1889

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, 1882

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ith biographical me

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ing, vol. 1,

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p. 27-67; reprinted in "Literary Studies", 1879; same article, Eclectic Magazine,

logical Lis

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