1846. Letter to R. H. Horne, dated Pisa, Dec. 4 [1846], in "Letters of E. B. B. to R. H. Horne," ed. S. R. T. Mayer, 1877, vol. ii, p. 182-3. Another, dated London, Sept. 24 [1851], written by E. B. B. "for Robert as well as myself, and signd [? by her] Robert and Elizabeth Barrett Browning.""-ib. p. 194-5. 1849. Letter to William Etty, R. A., dated "Bagni di Lucca, Sept. 21, 1849," and signed "Robert Browning." Printed in the "Life of William Etty, R. A. By Alexander Gilchrist" (Lond. 1855), vol. ii. pp. 280-81.—S. 1857. A Letter from Robert Browning1 to Leigh Hunt (dated Bagni di Lucca, 6th October, 1857),-is printed in The Correspondence of Leigh Hunt, edited by his Eldest Son. London: Smith and Elder, 1862, vol. ii. pp. 274-67.—S. 1871. Letter to the Editor of The Daily News, dated 19, Warwick Crescent, W., Feb. 9,' and signd Robert Browning,' in The Daily News of Feb. 10, 1871, saying that his contribution to the French Relief Fund was his publishers' payment for a lyrical poem [Hervé Riel], and not for The Ring and the Book.-T. W. C. 1874. Letter to the Editor of The Daily News, dated, Nov. 20, in Daily News, Nov. 21, 1874. Reprinted above, p. 56. 1875. Letter to the Rev. Alexander B. Grosart, on the poem of The Lost Leader and Wordsworth, dated "19 Warwick-crescent, Feb. 24, 1875," and signed "Robert Browning." Printed on p. xxxvii. of the Editor's Preface, prefixed to the first volume of "The Prose Works of William Wordsworth. Edited by the Rev. A. B. Grosart." London: Edward Moxon, Son and Co., 1876.-S. 1877. The Lord Rectorship of St. Andrew's. Letter to the Editor of The Times, dated "19 Warwick-crescent, Nov. 19," and signed "Robert Browning," saying that directly he had been told of his nomination as a candidate, he wrote to decline the honour, as I had found myself compelled to do on some former occasions."-Times, Tuesday, November 20, 1877.-S. 1878. Letter to F. J. F. in The Academy, Dec. 20, 1878, saying that he (R. B.) always took Mrs. Browning's line on Chaucer, "That mark upon his lips is wine" (Vision of Poets, 1844), "to be a proof of the geniality and joviality of Chaucer." 1881. Letter-in the PIGSBROOK AND CO. Controversy-to Mr. J. Orchard Halliwell Phillipps, not meant for printing, and printed by Mr. Hl.-P., without the writer's leave, in Jan. or Feb. 1881. 1 The Postscript is signed Elizabeth Barrett Browning. On p. 268-271 is a Letter to Mr. and Mrs. Browning, signed Leigh Hunt. In vol. i, p. 316, is also a Letter to Robert Browning, dated 'Chelsea, 15 April' [1839], signed Leigh Hunt. See also the Preface, vol. i, p. vii.-T. W. Carson. APPENDIX. I. THE "SELECTIONS" FROM BROWNING'S WORKS. II. THE CHANGED-RYME AND FRESH LINES IN SORDELLO, 1863. III. SAMPLE OF THE END-CHANGED, FRESH, AND LEFT-OUT LINES IN "PARACELSUS," eds. 1835 & 1863. IV. TRIAL-LIST OF CRITICISMS AND NOTICES OF BROWNING'S WORKS. V. PERSONAL NOTICES. I. 1863. SELECTIONS | FROM THE | POETICAL WORKS | OF ROBERT BROWNING. | London: | Chapman and Hall, 193, Piccadilly, 1863. [Made by John Forster (author of the Life of Goldsmith, &e. &c.), “whom I am proud to call my friend.”—Dedication to Strafford, p. 18, above, and the poet Bryan Waller Procter (Barry Cornwall), to whom Colombe's Birthday was dedicated, a very old friend, whom Browning, when in town, visited Sunday by Sunday till his death.] p. i-xii, 1-411. 16mo. PREFACE. This volume is published with Mr. Browning's sanction; but for the choice of the particular pieces he is in no respect responsible. The rule observed in the Selections has been to avoid giving mere fragments. Everything is presented, as far as was found practicable, in a complete form. 'Mr. Browning's leading poems, "Paracelsus," "Sordello," and "Christmas Eve and Easter Day," appear by such portions only as could be so detached that they should possess an independent and intelligible interest. His dramas, "Strafford," "Pippa Passes," "King Victor and King Charles," "The "Return of the Druses," "A Blot in the 'Scutcheon,” “Colombe's Birthday," and "Luria," are represented each by separate acts or scenes, constituting pictures of character in themselves complete. His "Dramatic Lyrics," and "Men and Women," have been laid under contribution exclusively for poems without omission or abridgment. The volume originated with two friends, who, from the first appearance of "Paracelsus," have regarded its writer as among the few great poets of the century; who have seen this opinion, since, gain ground with the best readers and critics; and who believe that such a selection as the present may go far to render it universal. 'The manner of an original writer, always marked and peculiar, often prevents his general acceptance, until the novelty has worn off. This, for the most part, is what is meant when certain forms of poetical genius are said to be too subtle for immediate enjoyment. Friendships likely to be lasting re seldom formed suddenly. But good service is done when such difficulties are, as far as possible, helped away. It is believed that this little book, by the range and variety of power it brings at once under view, will arrest, without overstraining, the attention of many readers; and, by making less novel and unfamiliar to them the style of a thoroughly original poet, will open to them sooner the full enjoyment of a series of writings as remarkable as any that have enriched the literature of our time.' Where Good News from Ghent to (36) The Italian in England Paracelsus aspires and is warned1 1 I. "Presume not to serve God apart from such," p. 16, ed. 1835, to “ these must be displayed," p. 24, ib. p. 41, ib. 2 II. "Stay with us, Aureole!" p. 34, ib., to "Festus I plunge! 3 III. "Par. Heap logs, and let the blaze laugh out," p. 72, ed. 1835, to “Or in my fortunes," p. 78, ib. 4 III. "And you saw Luther," p. 119, ib., to end of III, "Will you not call me to your side, dear friend?" [N.B. "Friend," for Browning's " Aureole," ed. 1835, p. 123; and 1863, iii. 94.] 5 IV. "Shall one like me," p. 151, ed. 1835 (iii. 117, ed. 1863), to end of IV: "About to perish for your sport.. Behold!" p. 156, ed. 1835. [In Paracelsus's answer, And soon. Oporinus," p. 111, the Selections have " soon for Browning's quickly."] 66 V. "Festus, my own friend, you are come at last," p. 172, ed. 1835, to "But [Browning, Which '] glideth out to music sweet and low," p. 176, ed. 1835; iii. 136, ed. 1863. Three words of a Selections alteration Browning adopts in 1863, iii. 135. 1835. "I shall dream else. Speak on!" [1863]"ay, leaning so!" But the Selections additions to the first two lines of his song he does not adopt : Br. Thus the Mayne glideth Sel. Where my love abideth." 1835 & 1863. Softly the Mayne river glideth Close by where my Love abideth." 1862, p. 116. 7 V. "I failed: I gazed on power till I grew blind," p. 195, ed. 1835, to end of V, "and this was Paracelsus." (6′) SORDELLO. Childhood of Sordello ("If I should falter now-for he is thine," Pk I. p. 264, vol. iii. ed. 1863, to "Thus thrall reached thrall," p. 275, ib.)." [The rymes are the same in both texts.] 121 Mount-Zion Chapel, at Love Lane (§ 1, 2, 3, Poet. Works, '68, v. 117-123) ... 214 Theological Lecture-room at Göttingen (§ 14, 15, less last line, Poet. Works, '68, v. 145-9) ... ... St. Peter's at Rome (§ 10, less 1st line, Poet. Works, '68; v. 136-8) ... 220 "Pippa is a girl from a Silk-factory, whose 'Passing' the various persons of the Play, at certain critical moments, in the course of her holiday, becomes, unconsciously to herself, a determining influence on the fortune of each. At Asolo in the Trevisan.” From "I.-Morning. Up the Hill-side..." Seb. (sings) Let the watching lids wink! iii. 9, ed. 1863, to p. 21, "Not to me, God-to him be merciful!" 2 "Victor Amadeus, King of Sardinia, having abdicated in favour of his Son, Charles Emanuel, determines, on the subsidence of the political dangers which suggested that step, to resume his dignity, in reliance upon the Duty of his Son, the Insignificancy of his Daughter-in-law, and the Obsequiousness of his old Minister, D'Ormea. For this purpose he proceeds to Rivoli Palace, near Turin, during the presumed absence of the new King.' From King Charles, Part I, "Vic. Sure I heard voices," iii. 113, ed. 1863, to end of Part I, "No praise, at least, Polyxenano praise," p. 123, ib. 3" In an Island colonized by the Druses, and garrisoned by the Knights-Hospitallers, Djabal has announced himself as the expected Hakeem and Deliverer of his people. Anael, his love, having, in attestation of her faith in this, slain the Prefect, their oppressor, receives the avowal of her lover's Imposture, and declares it to the Nuncio succeeding to the Tyranny of his predecessor, just as the Venetian succours, invited by Djabal, are about to arrive. Loys de Dreux, a young Knight, friendly to Djabal, loves Anael also." 4 66 Henry, Earl of Mertoun, having waited on Thorold, Lord Tresham, to solicit the hand of his sister Mildred, her cousin Guendolen communicates the result." 5 "The Courtiers of Colombe, Duchess of Juliers and Cleves, learn that her Duchy is claimed by Prince Berthold." Act I. p. 276, vol. ii. ed. 1863, to 1. 6, p. 281,"Will we, Sir Maufroy?" Then "The Claimant of the Duchy, and rightful Duke, Prince Berthold, proposes to marry Colombe; and the advocate Valence, to whom had been entrusted the cause of defending her possession, and who secretly loves her, communicates the proposal.' And extract from Act IV, p. 326, vol. ii, ed. 1863. "Val. So must it be," to p. 337, 1. 2, "And all's at darkest now. Impossible!" 61. (“Braccio, Commissary of the Republic, speaks of Florence and her Generals.") From Act I, p. 363, vol. ii, ed. 1863, "Lapo, there's one thing plain and positive," to p. 364, ib., "Stand firm where every famed precursor fell?" 2. (The Moorish General in service of the Florentines anticipates Peace.') "I wonder, do you guess why I delay," p. 369, ib., to p. 370, "Well, 'tis not sure the quiet lasts for ever. 3. (A Country's right to Individual service and sacrifice.') Lur. They are right then to try me?" Act II, p. 392, ib., to p. 395: "The fire! So, Braccio, Luria, which is best?" 4. (Luria, with Florence in his power, takes his Revenge.') Act IV. "Hus. . . Take revenge," p. 407, ib., to end of Act IV. "I drink this, and ere night,-die-Strange!" 1871. Title, Leaf of Dedication to the Countess Cowper, with 4 lines from E. B. B. quoted on reverse, 170 pages of text, 1-170.-S. Blank verse. 2681 lines. (Out by Aug. 12.) 1871. PRINCE HOHENSTIEL-SCHWANGAU. SAVIOUR OF SOCIETY. By Robert 129 Browning. London: Smith, Elder, and Co., 1871. (Out by Dec. 16.) p. i-iv, 1-148. Blank verse? 2160 lines. [On (Louis) Napoleon III, his motives, dreams and plans.1] 1872.2 FIFINE AT THE FAIR. By Robert Browning. By Robert Browning. 130 66 London: Smith, Elder, and Co., 15, Waterloo Place, 1872. p. i-xii, 1-171.3 132 sections, six-measure iambic rymed couplets - ryming Alexandrines-2342 lines, and "Epilogue. The Householder:" Savage I was sitting in my house, late, lone 4 ". 4 stanzas of 8, abab, cdcd. Pages i-xii consist of half-title, title, quotation from Molière's Don Juan Acte 1er. Scène 3o (p. v), an Englishing of it by Browning in 7 six-measure iambic ryme-couplets, "Don Juan, might you please to help one give a guess ;" and "Prologue. Amphibian" (A Butterfly at sea). "The fancy I had to-day," 19 verses of 4, alternates, 3-measure iambics. In all, 2464 lines. 1873. RED COTTON NIGHT-CAP COUNTRY, or TURF AND TOWERS.5 By And he has made a picture of it all. There lies Alkestis dead, beneath the sun. And the pretty Dedication to Lady Cowper: ".. this poem absolutely owes its existence to you. how good and beautiful ought such a poem to be! . . . . suffer that it make. its nearest possible approach to those Greek qualities of goodness and beauty, by laying itself gratefully at your feet!" Who says, 'What better end can ladies' beauty serve, Than to inspire poets' tongues and heroes' souls?' 1 See, on his marriage, (56) A Lover's Quarrel,' st. 5. 2 In 1872 came out the third "Selections from the Poetical Works of Robert Browning" [First Series]; and in or about 1872 the Poetical Time-tables. 3 The Poem is a man's defence to his noble wife of his admiration for a very handsome, loose, gipsy dancing-woman, and a discussion of the questions involvd in the proceeding. It "is a serio-fantastic discussion on the nature of sexual love and its relation to all other modes of aesthetic life, and turns mainly on the question whether such love best fulfils itself in constancy or in change, in devotion to one object, or in the appreciation of many."-Temple Bar, Feb. 1873, p. 315. 4 These lines are 4-measure, || - | 5 This poem is the story of Mellerio, the Paris Jeweller, and was studied at the place of his ending, St. Aubyn in Normandy, from the law-papers uzed in the suit concerning his will. It was put in type with all the true names of persons and things; but, on a proof being submitted by Browning to his friend the present Chief Justice, Lord Coleridge, then Attorney-General, the latter thought that an action for libel might lie for what was said in the poem, however unlikely it was that such procedure would be taken. Thereupon fictitious names were substituted for the real ones in every case. Next year, the appeal against the judgment in favour of the will was dismist, and, I suppoze, the matter set at rest in accordance with the ethics of the poem. I believe that Browning means to restore the true names in his next edition of the poem. "The tale is that of a modern Ultramontane Catholic, driven into sheer madness by the conflicting emotions of illicit love which he cannot control, and hyperbolical religious devotion which he does not dare to resist."-Daily News, May 3, 1873. |