tend to look on, and analyze, and describe, sometimes coldly, even cynically; but you care not if we see the honest, generous face through the thin mask; for in reality you agonize over all you do you know all, and see all; nothing eludes the vigilance of your incisive intellect and what lies beyond its reach is brought fluttering to your feet by flashes of surprizing (p. 123) intuition. And the faculty for which we prize you most is just this, that you have an inexhaustible interest in human nature; that you love "men and women"; that you believe in the soul and in God... (p. 126.) There was never a poet at once so graphic -so capable of painting with a few spots of colour,-and yet so independent of what is graphic and external. Caliban is full of an eastern glow of colour, a minute detail and observation of external nature, worthy of a naturalist; but the whole is nothing but a mental drama played out on the lowest level of human intelligence, as Luria is a drama played out on the highest. All Browning's poems are nothing but "dramas of the inner life' all save the unseen motives which pass "hither and thither dividing the swift mind," is framework.. or so much paint, which might be rubbed off, and still leave the contour of his work perfect. . . . throughout, one great moral quality emerges... the passionate love of truth rather than repose. . . Through all its contradictory writings he will know and have the very heart in man and woman. He is a great unveiler; he tears off the mask, tramples the sham underfoot, shows people to themselves and to the world, weighs them in the balance, tries them in the (p. 128) crucible, sets the pure gold in his heart of hearts (forgive the mixt metaphor), and flings the dross passionately to the four winds of heaven. For him no rounded whole, no sham consistency, at the expense of truth. Let us all stand firm, and be judged with all our imperfections on our heads-"nothing extenuate, nor set down aught in malice.' In Browning the unattainable is never attained, the ideal is never reached : there is never a perfect saint or villain throughout the whole of his works. Yet is he no pessimist, no real cynic; for the sense of Divine perfection is also never lost; it is the deep undertone of life, amid its wildest discords. He is passionately wedded to this world; everything about it is full of teeming interest for him; and yet the motto he has selected for death rules life—it is the eternal" Prospice" or "Beyond."'

1880. English Literature,' by Stopford Brooke, M. A., 1880. A fine paragraph on R. B. occurs on pages 183-4 under head of Modern English Poetry.-F. H. E. 1880. British Quarterly Review,' July 1, p. 235-6. A short notice of Br.'s Selections, second series, and of his Selections from E. B. B.

1880. Dramatic Idyls. Second Series. Reviewd in 'The Standard,' July 8; Daily News'; 'Glasgow Evening Citizen,' July 24; 'Pall Mall Gazette,' July 26.Orr.

1880. 'British Quarterly Review,' Oct. 1. Short notice of 'Dramatic Idyls: Second Series.' p. 506-7.

1880. British Quarterly Review,' Oct. 1. 'Art. I. Tennyson's Poems,' p. 273-291. A keen but somewhat unsympathetic critical review of Tennyson, contrasting him in several points with "his great rival, Mr. Browning." On p. 275, "The great poets who present the most difficulty are loved by their students with a passion often in proportion to the difficulty with which they are approached; and those students can never for a moment believe that the more popular poet is worthy to stand beside their own chosen one. Eschylus and Euripides, Dante and Tasso, Wordsworth and Scott, Browning and Tennyson, are instances of the contrast we mean: the first of each pair is incomparably the higher poet; but the multitude who read for relaxation and not for study, for facile delight and not for wise counsel, for titillation of fancy and not for the calm satisfaction of intellect, will never believe it, nor are they able to understand or apprehend it." p. 275-7 discuss the ease of Tennyson, and contrast the difficulty of Br. Take Mr. Browning in "Fear death?-to feel the fog in my throat," &c. [Prospice]. p. 277, "To put this highly elliptical passage into prose would need no mere transposition of words, but a paraphrase; it requires and repays study; but the students are to the readers of poetry as, perhaps, one in a hundred.' p. 279, "We may instance the use of older material by Mr. Browning in his

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Dramatic Idyls. It was at once pointed out by many critics, that 'Halbert and Hob' is the expansion of a few lines in Aristotle's Ethics; and the first incident of Ivan Ivanovitch is a story told wherever Russian life and Russian wolves are named. The true artist has seized the principle only of Aristotle's story, and given it a special English and puritan interest; while in the sequel to the poor [Russian] mother's tale, he rises to the rank of the creator, the original poetic genius." p. 284, Mr. Tennyson's . . . fastidious taste has preserved him from all temptation to tours de force, to surprises exciting now and then our admiration, now and then our anger. There is nothing half so clever as Browning's Le Byron de nos jours, with its quaint double rhymes, its metre and rhythm, apart from anything which had ever been done before. There are no deliberate roughnesses before or after passages of sweet sound, as though to point the contrast; no astonishing rhymes as in Browning and his sweet and strong poet-wife.' p. 286, "Mr. Browning... is suffused and penetrated with his subject, is for the time a lawyer, or follows every tortuous winding of the character he analyzes, as a surgeon lays bare nerves with his scalpel." p. 288, "Mr. Tennyson ... is in no sense dramatic. His great rival, Mr. Browning, has a marvellous power of placing himself in the position of his heroes. Bishop Blougram, Sludge, Prince Hohenstiel-Schwangau live before us scarce less vividly as real persons than do Hamlet or Macbeth. It is true they all express themselves in the words of Browning, and that those words have a marked idiosyncrasy, but the characters are defined; there is no confusion of persons, nor do we think for a moment that in any of his creations the poet is reproducing himself. In other words, he is truly dramatic... Who can find Mr. Browning in his Dramatic Idyls, in his Men and Women?” 1881. A. P. Paton. Hamnet Shakspere. Part VII. Julius Caesar. p. xiv. "It will be well for Robert Browning, the other Shakspere of a hundred years after this, if the editing of his Collected Works falls into the hands of men as painstaking as Heminge and Condell were . . . He has, indeed, already begun to suffer, and... he must wince not a little, to observe the changes his scrupulously-finished work occasionally undergoes. In the brief extracts in two of the reviews of La Saisiaz there were . . . stimulated thunderclaps' for simulated thunderclaps'; here fame stopped' for 'there fame stopped'; 'with my lyre lowest, highest,' instead of 'at lowest, highest,' and so on.'

1881. Sordello: A Story from Robert Browning, by Frederic May Holland, author of the Reign of the Stoics.' New York: G. P. Putnam's Sons, 1881. p. 1-26. Tells the story of the poem, with a few extracts from it; gives 5 or 6 pages of critical notes, and states the historical basis of the work, with an englisht specimen of the real Sordello's poetry. Mr. Holland has also in MS. like stories from The Ring and the Book, Luria, A Blot in the 'Scutcheon, The Return of the Druses, Colombe's Birthday, Pippa Passes, Red-Cotton Night-Cap Country, and Balaustion's Adventures, including the Apology of Aristophanes. George Bell & Sons, York St., Covent Garden, will publish these 'Stories from Browning' soon.

1881, Oct. 28. First Meeting of the Browning Society: full 300 folk at it. Reports of it in the Daily News' and 'Echo' of Oct. 29, Literary World' of Nov. 4 (by Dr. P. Bayne), and Academy' of Nov. 5 (by Miss Hickey). Comment on it in the Passing Notes' of 'The Echo,' Oct. 29, and my answer to this in 'Echo,' Oct. 31.

1881. Lord Lytton (II) in Contemporary Review,' Nov. p. 763-5. R. B. is the X who contends that The Love Sonnets of Proteus reviewd by Lord L. are not 'Sonnets' in form, and have therefore no right to that name. Of R. B., Lord L. says: "X. is one of those rare poets whose inimitable genius belongs to no school; and he is now in the full enjoyment of a long-merited renown. Like many other genuine writers, he is not much indebted to the critics for his fame. It was not they who introduced him to the public. The public has introduced him to them.

1881. Nov. 11. Preliminary Meeting of the Cambridge Browning Society, in King's Combination Room, the Rev. Prof. Westcott in the Chair. Addresses by him and Dr. Chas. Waldstein. A Committee of ten appointed to draw up the Rules of, and organize the Society. See Academy, Nov. 5 and 26.

1881. Nov. 9, First Circular. Nov. 22, List of Members (40,1 besides 8 Hon. Members) and Rules of the Oxford Browning Society, at its First Meeting held in Balliol Common Room, A. C. Bradley of Balliol in the Chair. Paper read by the Rev. the Hon. Arthur Lyttelton, on the leading ideas of Browning's Poetry. Second Meeting, Dec. 6: Mr. Lyttelton in the Chair. Paper on Browning's Critics, by Mr. Paton Ker. Mr. S. L. Lee of Balliol is the Hon. Sec. See Academy, Dec. 3.

1881. 'Gentleman's Magazine,' Dec. (No. 1812, vol. 251), p. 682-695. Review of The Ring and the Book, by James Thomson of our Society's Committee, author of The City of Dreadful Night,' &c.; highly praising B.'s wonderful creation, likening it to a Gothic cathedral (see p. 141 abuv), with its gurgoyles of the Lawyers' arguments, justifying its many tellings of the story, &c.

1881, Dec. 1. Scribner's 'Century Magazine,' p. 189-200: two portraits, and an Article by Mr. E. W. Gosse on "The Early Writings of Mr. Robert Browning:" an important article, as all the information came from the poet himself. It states that Br. began to write poetry as a very little boy; at 12 had enough Byronic poems to form a volume, but could naturally get no one to publish them: Miss Sarah Flower showd them to W. J. Fox, and after Fox's death in 1864, his daughter gave back to Br. his youthful productions. About 1825, Br. got all Shelley's works, and Keats's, and they changed him. "He plann'd a series of monodramatic epics, narratives of the life of typical souls-a gigantic scheme," of which Pauline only remains. His aunt gave him the money to print Pauline. Dante Rosetti so admired this poem that he copied it all out, and afterwards wrote to Br. at Florence about it. Br.'s father paid for the printing of Paracelsus. At Fox's house on Nov. 27, 1835, Br. made Macready's acquaintance; and at Macready's house, on Dec. 31, 1835 and Jan. 1, 1836, Jn. Forster's. Macready suggested that Br. should write him a play, "and the subject of Narses, the eunuch who conquer'd Italy for Justinian," was discusst between them. At Talfourd's Ion dinner, May 26, 1836 (p. 109 abuv), Wordsworth, leaning across the table, said, with august affability, "I am proud to drink your health, Mr. Browning.' On leaving Talfourd's, Macready said, "Write a play, Browning, and keep me from going to America!.." Mr. Br. simply replied: "Shall it be historical and English? What do you say to a drama on Strafford?" This was publisht by Longmans, at their own cost. Before 1840, Br. wrote K. Victor and K. Charles, and Mansur the Hierophant, rebaptized on publication by the name of The Return of the Druses. Sordello was begun in 1838 [?], finisht and printed in 1840. Moxon the publisher suggested that Br. should print his poems in M.'s cheap series of old dramatists, &c., and so 8 nos. of Bells and Pomegranates came out in it. Dramatic Lyrics I. being too short, the printer's devil came for more copy, and Br. "gave him a jeu d'esprit which he had written for Willie Macready [see p. 45, abuv, note], and which he had had no idea of publishing. This was The Pied Piper of Hamelin, which has probably introduced its author's name into hundreds of thousands of homes where otherwise it never would have penetrated." The full story is then told of Macready's manoeuvres, first to get out of having the Blot play'd, as he had promist, and then to take the hero's part out of Phelps's hands. Macready was nearly bankrupt, and hardly himself. (B. wouldn't let me give these details before.) Mr. Gosse's article should be bought by all our Members. 1881. Fanfulla della Domenica,' 4 dicembre. Roma. Agli ammiratori del poeta di Men and Women. Notizie preziose che raccolgo dall' Academy.' A note of the foundation of the Browning Society, of the Century article, and of Mr. Radford's identification of the Andrea del Sarto picture and poem, with my letter about it (p. 148, below). The result is prettily put: "Così il mondo dell' arte ebbe due fortune; di avere una copia di meno, è un capolavoro di più." 2

1 The Society was limited in order that it might meet in the comfortable CommonRoom of the College of the Chairman and Host of each Meeting. But the 40 (the number of the French Academy as well as the Forty Thieves) represent all classes of the University-15 Graduates, 15 Undergraduates, and 10 ladies.

2 Thus had the world of Art two good haps; to have one copy the less, and one inaster-piece the more.

BROWNING, 2.

M

1881. The Cambridge Review,' Dec. 7, vol. iii. No. 58, p. 146-7. "Robert Browning's Poems." A good review of Rabbi ben Ezra and Abt Vogler, by A. W., who also writes some thoughtful verses, Unfulfilled Ideals," in the next column. On p. 119, are letters from R. Somervell of Kings, and E. M. Sympson of Caius, ridiculing a note of some feeble B. H. H.' against the Cambr. Browning Society in a former number of the 'Review.'

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1881. 'Academy,' Dec. 10, p. 437, col. 2. Letter from me in answer to Mr. Gosse's objection to Paracelsus, as a drama" (which Browning expressly warnd his readers it wasn't) containing 2 speeches of over 300 lines each.

1881, Dec. Expressions of hope that Mrs. Kendal will play the Queen in In a Balcony, by Mr. Joseph Knight in Athenæum,' Dec. 10, Mr. Moy Thomas in 'Daily News,' Dec. 12, Mr. F. Wedmore in Academy,' Dec. 17.

1881. The Home Journal,' Dec. 15, p. 104-5. Garbled report of my Lecture on Br. to the Ascham Society on Dec. 7.

1881. 'Academy,' Dec. 17. Miss E. Dickinson West's Sonnet To Robert Browning, on re-reading some Poems long unread.'

1881. Pall Mall Gazette,' Dec. 22, p. 11. Article on 'The Browning Society.' My answer to it, meeting its objections full butt, is-with an editorial paragraph-in the 'P. M. G.' of Jan. 2, 1882. (I did not see the article till Dec. 30, 1881.)

1881. 'Daily News,' Dec. 31. Leader on the Literature of the year, mentioning Br. and the Browning Society. My answer is in the 'D. N.' of Jan. 2, 1882, p. 2, col. 7, at foot.

1881. 'Academy,' Dec. 31. My letter on 'Mr. Browning's Thunderstorms,'— Ottima's in Pippa Passes, and the Pope's in Ring and Book, vol. iv, p. 91-2,— asking whether they can be matcht in English Literature.

I have not enter the smaller Browning paragraphs or earlier letters of mine that have appeard weekly in the 'Academy' for some time.

1882. Prof. S. R. Gardiner. Fall of the Monarchy of Charles I,' vol. ii, p. 180. "Strafford turns proudly away. Noy wishes to know where he will choose his residence. 'In any place,' is the reply, so that I may have that which I come for-rest.' Such was the utmost for which a contemporary could dare to hope. A great poet of our own day, clothing the reconciling spirit of the 19th century in words which never could have been spoken in the 17th, has breathed a higher wish. On his page an imaginary Pym, recalling an imaginary friendship, looks forward hopefully to a re-union in a better and brighter world. 'Even thus,' Pym is made to say-and we may well wish that it had been possible for him to say it

• Even thus, I love him now, And look for my chief portion in that world Where great hearts led astray are turn'd again...

in my inmost heart,

Believe, I think of stealing quite away,

To walk once more with Wentworth, my youth's friend,
Purged from all errors, gloriously renew'd;

And Eliot shall not blame us.'

Browning's Strafford, Act V. sc. ii. Works, 1868, i. 308." 1882. 'Literary Gazette' (Boston, U.S.A.), Jan. 14. Notice of Browning's growing popularity.

1882. P. G. Hamerton. Dedication of his book, 'The Graphic Arts,' to R. B. 1882.

'Boston (U. S. A.) Evening Transcript,' Wednesday, Jan. 18, p. 4, col. 4-5. An article headed "Mr. Thaxter's readings-A new Interpreter of Browning,' very strongly praising the readings and the poet: "The mind which easily overtakes Shakspeare will find Browning still many strides in advance. Those who honestly wish to ascend the heights and breathe the same fine air with this noblest poetic mind of our century, will hardly find a more careful and gentle leader than Mr. Thaxter." ib., col. 5. Letter protesting against Mr. Home being the original of Sludge, the Medium.

3. FRESH PERSONAL NOTICES.

1835-1843.

MACREADY'S JOURNAL, NOTES ON BROWNING.

1835. November 27th. Went from chambers to dine with Rev. William Fox, Bayswater Mr. Robert Browning, the author of Paracelsus came in after dinner: I was very much pleased to meet him. His face is full of intelligence. My time passed most agreeably. . . I took Mr. Browning on, and requested to be allowed to improve my acquaintance with him. He expressed himself warmly, as gratified by the proposal, wished to send me his book; we exchanged cards and parted. 1875. Macready's 'Reminiscences,' ed. Pollock, i. 474. December 7th. Read Paracelsus, a work of great daring, starred with poetry of thought, feeling, and diction, but occasionally obscure: the writer can scarcely fail to be a leading spirit of his time. i. 474-5.

December 31st. Frederick Reynolds arrived a little after 4 o'clock. . . Our other guests were Messrs Kenney, Forster, Cattermole, Browning, and Mr. Munro. Mr. Browning was very popular with the whole party; his simple and enthusiastic manner engaged attention, and won opinions from all present; he looks and speaks more like a youthful poet than any man I ever saw.

We poured out a libation as a farewell to the old year and a welcome to the new. i. 476.

1836. February 16th. Forster and Browning called, and talked over the plot of a tragedy, which Browning had begun to think of the subject Narses. He said that I had bit him by my performance of Othello,' and I told him I hoped I should make the blood come. It would indeed be some recompense for the miseries, the humiliations, the heart-sickening disgusts which I have endured in my profession if, by its exercise, I had awakened a spirit of poetry whose influence would elevate, ennoble, and adorn our degraded drama. May it be ! ii. 8. (See Gosse's article in Scribner's Century, Dec. 1881, p. 194-5.) May 26th. [After first acting of Talfourd's 'Ion.'] Smith, Dow, Browning, Forster. came into my room. [M. went to supper at Talfourd's: See Bibliography, p. 109.] At Talfourd's I met Wordsworth, who pinned me, Walter Savage Landor Stanfield, Browning, Price, Miss Mitford-I cannot remember all. [M. proposed Talfourd's health.] It became then a succession of personal toasts, Miss E. Tree, Miss Mitford, Mr. Stanfield, Mr. Price, Mr. Poole, Browning, and who else I do not know. I was very happily placed between Wordsworth and Landor, with Browning opposite, and Mr. Talfourd next but one.' . . ii. 33.

...

London, August 1st. Came up to town [from Elstree, Herts.] by Billing's, in company with Mr. and Miss Lane, Browning, Forster, and Mr. Ainsworth. Parted with my guests apparently well-pleased with their excursion. . . ii. 42. London, August 3rd. Forster told me that Browning had fixed on Strafford for the subject of a tragedy; he could not have hit upon one that I could have more readily concurred to. ii. 43-4.

Elstree, Sunday, October 30th. We talked in the drawing-room with Browning and Dow, till the arrival of Talfourd and Mr. R. T. Price and White. Introduced all to Forrest. i. 53.

November 10th. Browning came with Dow to bring me his tragedy of Strafford; the fourth act was incomplete. I requested him to write-in the plot of what was deficient. Dow drove me (p. 54) to the Garrick Club, while Browning wrote out the story of the omitted parts. [M. stayd with the remainers after the dinner given to Forrest.] Browning and Dow soon summoned me, and I received the MS, started in a cab to Kilburn. . . ii. 54.

1837. January 4th. Acted Bragelone well (in L. Bulwer's 'La Vallière'). Dow, Fitzgerald, Browning, Talfourd .. came into my room; they all seemed to think much of my performance. ii. 57.

January 7th. Browning called, and we talked about 'La Vallière,' &c. ; he gave me an interesting lithographic print of Richard from some old tapestry.. ii. 57.