Chapter CXIX: Appendix: I. an Essay on Shelley (2)

and so on, τὴν ἄρ' ὃ γ' ἐν χείρεσσιν ἔχων--χερσὶν ἔχ' ἀτρέμα, κ.τ.λ. Moreover, while he shook it he 'shouted enormously,' σεῖσ', ἐπὶ δ' αὐτὸς αὔσε μαλά μέγα, which the statue does not. Presently when Teukros, on the other side, plies the bow, it is τόξον ἔχων ἐν χειρὶ παλίντονον. Besides, by the act of discharging an arrow, the right arm and hand are thrown back as we see,--a quite gratuitous and theatrical display in the case supposed. The conjecture of Flaxman that the statue was suggested by the bronze Apollo Alexikakos of Kalamis, mentioned by Pausanias, remains probable; though the 'hardness' which Cicero considers to distinguish the artist's workmanship from that of Muron is not by any means apparent in our marble copy, if it be one.--Feb. 16, 1880."

Page 181.

The last four lines of the ninth section of _Saul_ which ended the first part in _Bells and Pomegranates_, were as follows, 1845:--

"On one head the joy and the pride, even rage like the throe
That opes the rock, helps its glad labor, and lets the gold go--
And ambition that sees a man lead it--oh, all of these--all
Combine to unite in one creature--Saul!"

Page 191. RESPECTABILITY.

"These two unconventional Bohemian lovers," says Professor Corson, "strolling together at night, at their own sweet will, see down the court along which they are strolling, three lampions flare, which indicate some big place or other where the respectables do congregate; and the woman says to the companion, with a humorous sarcasm, Put forward your best foot! that is, we must be very correct passing along here in this brilliant light. By the lovers are evidently meant George Sand (the speaker) and Jules Sandeau, with whom she lived in Paris, after she left her husband, M. Dudevant. They took just such unconventional night-strolls together, in the streets of Paris."

Page 194. THE GUARDIAN ANGEL.

The picture which Browning describes, called _L' Angelo Custode_, is in the church of St. Augustine at Fano; and it "represents an angel standing with outstretched wings by a little child. The child is half-kneeling on a kind of pedestal, while the angel joins its hands in prayer; its gaze is directed upwards towards the sky, from which cherubs are looking down." It is not regarded as one of his chief pictures, but it interested Browning because of the subject, and its simple pathos.

Page 194. _Alfred, dear friend._

Alfred Domett, the hero of _Waring_, an early friend of Browning, and at the time living in New Zealand. Mrs. Orr writes: "When he read the apostrophe to 'Alfred, dear friend,' he had reached the last line before it occurred to him that the person invoked could be he."

Page 254. INSTANS TYRANNUS.

The title of this poem was suggested by Horace's ode, III. iii. 1. beginning

Justum et tenacem propositi virum,
Non civium ardor prava jubentium
Non vultus instantis tyranni.

Page 264. WARING.

Alfred Domett, son of Nathaniel Domett, was born at Camberwell Grove, Surrey, May 20, 1811. His father was a seaman under Nelson, and a gallant sailor. Alfred entered St. John's College, Cambridge, in 1829; but after a residence of three years he left without graduation. His attention was early turned to literature, and in 1832 he published a volume of poems. He also contributed to _Blackwood's Magazine_ various lyrics which attracted attention to him as a rising poet. One of these was _A Christmas Hymn_, which is the best known of all his poems, and has been highly praised. It may be found in several poetical collections, and among them _Festival Poems_. In 1839, in the same magazine, he published a poem on _Venice_.

Domett was called to the bar in 1841, and lived in the Middle Temple with Joseph Arnold, who became Chief Justice of Bombay. He was handsome and attractive, well received in society, and a favorite with his literary friends. Before this, however, he had spent two years in travelling in America, including a winter in the backwoods of Canada; and then two years more in Switzerland, Italy, and other Continental countries. In 1842 he was persuaded to go to New Zealand by his cousin, William Young, whose father was a large land owner there, in connection with the New Zealand Company. In May, 1842, he went out to that colony among the earliest settlers. It was immediately after his departure that Browning wrote his _Waring_, which describes his friend very accurately, and the circumstances of his sudden absence from London. On arriving in New Zealand, Domett found that his cousin had just been drowned. He settled in the county of Wairoa, on the North Island. In _The Guardian Angel_ Browning addressed him:--

"Where are you, dear old friend?
How rolls the Wairoa at your world's far end?"

Soon after his arrival Domett was made a magistrate with a salary of £700 a year. Before leaving England Domett was permanently lamed by an accident to one of his legs, which saved his life soon after he reached the colony, for it prevented his accepting the invitation of some treacherous native chiefs to a banquet at which all the English guests were killed. In his _Narrative of the Wairou Massacre_, 1843, he described this event.

In 1848 he was made the Colonial Secretary for the southern part of the North Island; and in 1851 he was also appointed the Civil Secretary for the whole of New Zealand, holding both offices until the introduction of the new constitution, in 1853. Having resigned these offices, he accepted one of more work and less remuneration, as Commissioner of Crown Lands, and Resident Magistrate at Hawke's Bay; and of this district he had virtually the sole official management. In 1859 he represented the town of Nelson in the House of Representatives, and he was reëlected the following year.

In 1862, at a critical moment in the affairs of New Zealand, Domett was called upon to form a new government, which he successfully accomplished, becoming the Prime Minister.

In 1871, Domett returned to London, and took up his residence at Phillimore Terrace, Kensington; and afterwards at St. Charles's Square, North Kensington. He had married a handsome English lady while yet a resident in New Zealand. He saw much of Browning; he became an interested member of the Browning Society, and one of its vice-presidents. "His grand white head," says Mr. F. J. Furnivall, "was to be seen at all the Society's performances and at several of its meetings. He naturally preferred Mr. Browning's early works to the later ones. He could not be persuaded to write any account of his early London days. Mr. Domett produced with pride his sea-stained copy of Browning's _Bells and Pomegranates_. A sterling, manly, independent nature was Alfred Domett's. He impressed every one with whom he came in contact, and is deeply regretted by his remaining friends."

In 1872 Domett published in London his _Ranolf and Amohia, a South-Sea Day Dream_, a poem descriptive of New Zealand, its scenery, and the legends and habits of the Maori inhabitants. This poem was afterwards revised, enlarged, and published in two volumes. In 1877 appeared a volume of his short poems, including those published before he went to New Zealand, under the title of _Flotsam and Jetsam, Rhymes Old and New_. [G. W. COOKE.]

Page 280.

_He settled Hoti's business--let it be!_
_Properly based Oun--,_
_Gave us the doctrine of the enclitic De._

--_Hoti_ is the Greek particle ὅτι, that, etc.--_Oun_ is the Greek particle οὖν, then, now then, etc.--_The enclitic De_ is the Greek δε, which Browning refers to in a letter to the London _Daily News_ of Nov. 21, 1874: "To the Editor: Sir,--In a clever article this morning you speak of 'the doctrine of enclitic De'--'which, with all deference to Mr. Browning, in point of fact does not exist.' No, not to Mr. Browning: but pray defer to Herr Buttmann, whose fifth list of 'enclitics' ends with 'the inseparable _De_'--or to Curtius, whose fifth list ends also with '_De_ (meaning "_towards_" and as a demonstrative appendage).' That this is not to be confounded with the accentuated 'De, meaning _but_' was the 'doctrine' which the Grammarian bequeathed to those capable of receiving it.--I am, sir, yours obediently, R. B."

Page 287. CHILDE ROLAND TO THE DARK TOWER CAME.

In an article describing a visit to the poet, Rev. John W. Chadwick speaks of this tapestry and Mr. Browning's comments on the poem:--

"Upon the lengthwise wall of the room, above the Italian furniture, sombre and richly carved, was a long, wide band of tapestry, on which I thought I recognized the miserable horse of Childe Roland's pilgrimage:--

"'One stiff blind horse, his every bone a-stare,
Stood stupefied, however he came there:
Thrust out past service from the devil's stud!'

I asked Mr. Browning if the beast of the tapestry was the beast of the poem; and he said yes, and descanted somewhat on his lean monstrosity. But only a Browning could have evolved the stanzas of the poem from the woven image. I further asked him if he had said that he only wrote _Childe Roland_ for its realistic imagery, without any moral purpose,--a notion to which Mrs. Sutherland Orr has given currency; and he protested that he never had. When I asked him if constancy to an ideal--'He that endureth to the end shall be saved'--was not a sufficient understanding of the central purpose of the poem, he said, 'Yes, just about that.'"

Page 337. ARTEMIS PROLOGIZES.

Mrs. Orr prints in her _Handbook_ a note from Browning with reference to the attacks upon him for the form he adopted in the printing of Greek names. It is in reply to an article in the _Nineteenth Century_, for January, 1886, written by Mr. Frederick Harrison. "I have just noticed," wrote Browning, "in this month's _Nineteenth Century_ that it is inquired by a humorous objector to the practice of spelling (under exceptional conditions) Greek proper names as they are spelled in Greek literature, why the same principle should not be adopted by Ægyptologists, Hebraists, Sanscrittists, Aceadians, Moabites, Hittites, and Cuneiformists? Adopt it by all means whenever the particular language enjoyed by any fortunate possessor of these shall, like Greek, have been for about three hundred years insisted upon in England, as an acquisition of paramount importance at school and college, for every aspirant to distinction in learning, even at the cost of six or seven years' study--a sacrifice considered well worth making for even an imperfect acquaintance with the most perfect language in the world. Further, it will be adopted whenever the letters substituted for those in ordinary English use shall do no more than represent to the unscholarly what the scholar accepts without scruple, when, for the hundredth time, he reads the word which, for once, he has occasion to write in English, and which he concludes must be as euphonic as the rest of a language renowned for euphony. And finally, the practice will be adopted whenever the substituted letters effect no sort of organic change, so as to jostle the word from its pride of place in English verse or prose. 'Themistokles' fits in quietly everywhere, with or without the 'k;' but in a certain poetical translation I remember by a young friend, of the _Anabasis_, beginning thus felicitously, '_Cyrus the Great and Artaxerxes (Whose temper bloodier than a Turk's is) Were children both of the mild, pious, And happy monarch King Darius;_ who fails to see that, although a correct 'Kuraush' may pass, yet 'Darayavash' disturbs the metre as well as the rhyme? It seems, however, that 'Themistokles' may be winked at; not so the 'harsh and subversive "Kirke."' But let the objector ask somebody with no knowledge to subvert, how he supposes 'Circe' is spelled in Greek, and the answer will be, 'With a soft _c_.' Inform him that no such letter exists, and he guesses, 'Then with _s_, if there be anything like it.' Tell him that to eye and ear equally, his own _k_ answers the purpose, and you have at all events taught him that much, if little enough--and why does he live unless to learn a little!" This note is signed "R. B." Its date is January 4, 1886.

Page 341. JOHANNES AGRICOLA IN MEDITATION.

"'Antinomians, so denominated for rejecting the Law as a thing of no use under the Gospel dispensation: they say, that good works do not further, nor evil works hinder salvation; that the child of God cannot sin, that God never chastiseth him, that murder, drunkenness, etc., are sins in the wicked but not in him, that the child of grace being once assured of salvation, afterwards never doubteth, ... that God doth not love any man for his holiness, that sanctification is no evidence of justification, etc. Pontanus, in his _Catalogue of Heresies_, says John Agricola was the author of this sect, A. D. 1535.' _Dictionary of all Religions_, 1704."

"Browning," says Mr. Cooke, "does not correctly represent the teachings of Agricola, though his poem is correct so far as many Antinomians are concerned. Agricola held that the Law and the Gospel are incompatible, that the Law is only for the Jew, and that the spirit of Christ abolishes it for the Christian. The moral obligations, however, he held were for the Christian as much as for any other person. In the New Testament he found all the principles and motives necessary to give true impulse and guidance to the Christian. It was the use made of his teachings by fanatics which cast an odium on the name of Antinomians; and it is this fanatical and sentimental religion which Browning has interpreted correctly in his poem. Many of the Antinomians taught what is attributed to them in the _Dictionary of all Religions_, from which Browning quoted when his poem was first published."

Page 348. THE BISHOP ORDERS HIS TOMB.

"I know no other piece of modern English, prose or poetry, in which there is so much told, as in these lines, of the Renaissance spirit,--its worldliness, inconsistency, pride, hypocrisy, ignorance of itself, love of art, of luxury, and of good Latin. It is nearly all that I said of the central Renaissance in thirty pages of the _Stones of Venice_, put into as many lines, Browning's being also the antecedent work. The worst of it is that this kind of concentrated writing needs so much solution before the reader can fairly get the good of it, that people's patience fails them, and they give the thing up as insoluble; though, truly, it ought to be to the current of common thought like Saladin's talisman, dipped in clear water, not soluble altogether, but making the element medicinal." [JOHN RUSKIN.]

Page 387. _Is not his love at issue still with sin._

In the first edition there followed this line: _Closed with and cast and conquered, crucified._

Page 602. BALAUSTION'S ADVENTURE.

Mr. Richard G. Moulton, in the _Transactions of the Browning Society_, 1890-1891, offers a detailed criticism of Browning's poem as a reproduction of the thought of Euripides, especially in regard to the character of Admetus. The chief points will be found in Berdoe's _The Browning Cyclopaedia_.

Page 699. PRINCE HOHENSTIEL-SCHWANGAU.

Of the description of the succession of Roman high priests, Mrs. Orr says: "Mr. Browning desires me to say that he has been wrong in associating this custom with the little temple by the river Clitumnus, which he describes from personal knowledge. That to which the tradition refers stood by the lake of Nemi."

Page 736. RED COTTON NIGHT-CAP COUNTRY.

The equivalents in point of fact of names are as follows.

The Firm Miranda = Mellerio Brothers.

St. Rambert = St. Aubin. Joyeux, Joyous-Gard = Lion, Lionesse.

Vire = Caen.

St. Rambertese = St. Aubinese.

Londres = Douvres.

London = Dover. La Roche = Courcelle. Moulieu = Bernières. Villeneuve = Langrune. Pons = Luc. La Ravissante = La Délivrande.

Raimbaux = Bayeux. Morillon = Hugonin. Mirecourt = Bonnechose.

New York = Madrid.

Clairvaux = Tailleville. Gonthier = Bény. Rousseau = Voltaire. Léonce = Antoine.

Of "Firm Miranda, London and New York" = "Mellerio Brothers;" Meller, people say.

Rare Vissante = Dell Yvrande. Aldabert = Regnobert. Eldobert = Ragnobert. Mailleville = Beaudoin. Chaumont = Quelen. Vertgalant = Talleyrand.

Ravissantish = Délivrandish.

Clara de Millefleurs = Anna de Beaupré. Coliseum Street = Miromesnil Street.

Steiner = Mayer. Commerey = Larocy. Sierck = Metz.

Muhlhausen = Debacker. Carlino Centofanti = Miranda di Mongino.

Portugal = Italy.

Vaillant = Mériel.

Thirty-three = Twenty-five.

Beaumont = Pasquier.

Sceaux = Garges.

The "guide" recommended to Miranda was M. Joseph Milsand, who was always at St. Aubin during the bathing season, and who was an old friend of Browning's.

Lac de la Maison Rouge = Jean de la Becquetière. Claise = Vire. Maude = Anne.

Dionysius = Eliezer. Scholastica = Elizabeth.

Twentieth = Thirteenth.

Fricquot = Picot.

Page 802. _My Kirkup_.

Baron Kirkup, a connoisseur in literature and art, who was numbered among Browning's Florentine friends. He was ennobled by the King of Italy, because of his literary and patriotic services to his country. He discovered a portrait of Dante in the Bargello at Florence.

Page 827. EPILOGUE.

The poet referred to is Mrs. Browning in _Wine of Cyprus_.

Page 880. IVÀN IVÀNOVITCH.

Mr. Nathan Haskell Dole, the author of a _History of Russia_, and the translator of Tolstoi and other Russian authors, furnishes for Mr. Cooke's _Browning Guide Book_ the following notes:--

"A _verst_ is about .66 of a mile (3500 feet).--I take it the _highway broad and straight from the Neva's mouth to Moscow's gates of gold_ must refer to the legend that when the first railroad was built from one city to the other, the Emperor Nicholas ordered that it should run absolutely straight, himself marking it with a ruler on the map. I do not think the old highway ran straight.--_Ivàn Ivànovitch_ is equivalent to John Johnson, or more correctly Jack Jackson, _Ivàn_ being the familiar of _Ioànn_, John. The ending _vitch_, however, is not exactly an equivalent to son; it really means father.--_Droug_, more correctly spelt _druk_ (pronounced drook), means friend.--Browning's _motherkin_ corresponds to the Russian _màtushka_, and is an endearing diminutive of _mat_, mother; it is always applied to any old peasant woman; it is a familiar form of address, often applied to any woman or even girl.--_Vàssili_ (accented by Browning incorrectly on the first syllable) should be spelt _Vasìli:_ it is our Basil.--_Lukeria_ is a colloquial form of _Glikeria_, _Glycera;_ the proper diminutive is _Lusha_ and also _Lushka_.--Browning makes one odd mistake in the poem; it would be impossible for the breath to go up straight when the people were riding fast in a Russian sledge.--He speaks of _twin pigeons;_ the most familiar term of endearment in Russian is _golùbchik_, which is the diminutive of the word for pigeon.--_Stòpka_ is the proper diminutive of _Stepàn_, Stephen; the _io_ merely represents the sound of the _e_ (as in yelk) with which it is written in Russian.--_Pope_ should not be with a capital; it simply means priest.--_Marpha_ should be spelt _Marfa;_ it is our Martha, but the Russians cannot pronounce _th;_ they represent it by _f_.--_Pomeschìk_ should be _pomyèschik;_ it means merely a landed proprietor.--_Stàrosta_ is correctly accented; it is the bailiff of a village, also overseer, inspector; it merely means old man (from _stàrost_, old age, _star_, old.)-- _Kremlin_ is better _kreml;_ it is any fortress, but especially the fortress of Moscow.--_Kàtia_ is the diminutive of _Yekaterìna_, Katherine.--_Kòlokol_ is pronounced as though it were two syllables, accent on the first.--I am not certain about the correctness of _Teriòscha_. It should have no c: nor should _Stèscha_."

Page 899. PIETRO OF ABANO.

"Studiando le mie cifre col compasso,
Rilevo che sarò presto sotterra,
Perchè del mio saper si fa gran chiasso,
E gl' ignoranti m' hanno mosso guerra."

Said to have been found in a well at Abano in the last century. They were extemporaneously Englished thus: not as Father Prout chose to prefer them:--

Studying my ciphers with the compass,
I reckon--I soon shall be below-ground;
Because, of my lore folk make great rumpus,
And war on myself makes each dull rogue round.

R. B.

Page 914. CRISTINA AND MONALDESCHI.

The subjects of this poem are Queen Christina of Sweden, daughter of Gustavus Adolphus, and her master of horse.

Page 955. WITH DANIEL BARTOLI.

A learned and ingenious writer. "Fu Gesuita e Storico della Compagnia; onde scrisse lunghissime storie, le quali sarebbero lette se non fossero ripiene traboccanti di tutte le superstizioni.... Egli vi ha ficcati dentro tanti miracoloni, che diviene una noia insopportabile a chiunque voglia leggere quelle storie: e anche a me, non mi bastò l'amimo di proseguire molto avanti."--ANGELO CERUTTI.

III. A LIST OF MR. BROWNING'S POEMS AND DRAMAS

ARRANGED IN THE ORDER OF FIRST PUBLICATION IN BOOK FORM

The following list is drawn from the careful Bibliography, prepared by Mr. Thomas J. Wise and published in _The Athenaeum_ for August 11, 25, September 29, October 27, 1894.

1833. Pauline: A Fragment of a Confession.

1835. Paracelsus.

1837. Strafford: An Historical Tragedy.

1840. Sordello.

1841. Bells and Pomegranates. No. I. Pippa Passes.

1842. Bells and Pomegranates. No. II. King Victor and King Charles.

1843. Bells and Pomegranates. No. III. Dramatic Lyrics.

Contents

Cavalier Tunes:
(1) Marching Along.
(2) Give a Rouse.
(3) My Wife Gertrude.
Italy and France.
Camp and Cloister.
In a Gondola.
Artemis Prologizes.
Waring.
Queen-Worship.
(1) Rudel and the Lady of Tripoli.
(2) Cristina.
Madhouse Cells.
Through the Metidja to Abd-el-Kadr. 1842.
The Pied Piper of Hamelin.

1843. Bells and Pomegranates. No. IV. The Return of the Druses. A
Tragedy in five Acts.

1843. Bells and Pomegranates. No. V. A Blot in the 'Scutcheon. A
Tragedy in three Acts.

1844. Bells and Pomegranates. No. VI. Colombe's Birthday. A Play in
five Acts.

1845. Bells and Pomegranates. No. VII. Dramatic Romances and Lyrics.

Contents

"How they brought the Good News from Ghent to Aix."
Pictor Ignotus.
Italy in England.
England in Italy.
The Lost Leader.
The Lost Mistress.
Home Thoughts from Abroad.
The Tomb at St. Praxed's.
Garden Fancies:
(1) The Flower's Name.
(2) Sibrandus Schafnaburgensis.
France and Spain:
(1) The Laboratory.
(2) The Confessional.
The Flight of the Duchess.
Earth's Immortalities.
Song: "Nay "but you, who do not love her."
The Boy and the Angel.
Night and Morning.
Claret and Tokay.
Saul.
Time's Revenges.
The Glove.

1846. Bells and Pomegranates. No. VIII. and last. Luria; and A
Soul's Tragedy.

1850. Christmas-Eve and Easter-Day.

1855. Cleon.

1855. The Statue and the Bust.

1855. Men and Women. In two volumes.

Contents. I.

Love among the Ruins.
A Lovers' Quarrel.
Evelyn Hope.
Up at a Villa--down in the City. (As Distinguished by an
Italian Person of Quality.)
A Woman's Last Word.
Fra Lippo Lippi.
A Toccata of Galuppi's.
By the Fireside.
Any Wife to Any Husband.
An Epistle containing the Strange Medical Experience of
Karshish, the Arab
Physician.
Mesmerism.
A Serenade at the Villa.
My Star.
Instans Tyrannus.
A Pretty Woman.
"Childe Roland to the Dark Tower came."
Respectability.
A Light Woman.
The Statue and the Bust.
Love in a Life.
Life in a Love.
How it strikes a Contemporary.
The Last Ride Together.
The Patriot--An Old Story.
Master Hugues of Saxe-Gotha.
Bishop Blougram's Apology.
Memorabilia.

Contents. II.

Andrea del Sarto. (Called "The Faultless Painter.")
Before.
After.
In Three Days.
In a Year.
Old Pictures in Florence.
In a Balcony.--First Part.
In a Balcony.--Second Part.
In a Balcony.--Third Part.
Saul.
"De Gustibus--"
Women and Roses.
Protus.
Holy-Cross Day. (On which the Jews were forced to attend an
Annual Christian Sermon in Rome.)
The Guardian-Angel: A Picture at Fano.
Cleon.
The Twins.
Popularity.
The Heretic's Tragedy. A Middle-Age Interlude.
Two in the Campagna.
A Grammarian's Funeral.
One Way of Love.
Another Way of Love.
"Transcendentalism:" A Poem in Twelve Books.
Misconceptions.
One Word More. To E. B. B.

1864. Gold Hair: A Legend of Pornic.
Dramatis Personæ.

Contents

James Lee.
Gold Hair: A Legend of Pornic.
The Worst of it.
Bis Aliter Visum; or, Le Byron de Nos Jours.
Too Late.
Abt Vogler.
Rabbi Ben Ezra.
A Death in the Desert.
Caliban upon Setebos; or Natural Theology in the Island.
Confessions.
May and Death.
Prospice.
Youth and Art.
A Face.
A Likeness.
Mr. Sludge, "The Medium."
Apparent Failure.
Epilogue.

1868. The Ring and the Book.

1871. Balaustion's Adventure: Including a Transcript from Euripides.

1871. Prince Hohenstiel-Schwangau, Saviour of Society.

1872. Fifine at the Fair.

1873. Red Cotton Night-cap Country, or Turf and Towers.

1875. Aristophanes' Apology: Including a Transcript from Euripides,
Being the Last Adventure of Balaustion.

1875. The Inn Album.

1876. Pacchiarotto, and How he Worked in Distemper: with other
Poems.

Contents

Prologue.
Of Pacchiarotto, and How he Worked in Distemper.
At the "Mermaid."
House.
Shop.
Pisgah-Sights. (1).
Pisgah-Sights. (2).
Fears and Scruples.
Natural Magic.
Magical Nature.
Bifurcation.
Numpholeptos.
Appearances.
St. Martin's Summer.
Hervé Riel.
A Forgiveness.
Cenciaja.
Filippo Baldinucci on the Privilege of Burial.
Epilogue.

1877. The Agamemnon of Æschylus.

1878. La Saisiaz.
The Two Poets of Croisic.

1879. Dramatic Idyls.

Contents

Martin Relph.
Pheidippides.
Halbert and Hob.
Ivàn Ivànovitch.
Tray.
Ned Bratts.

1880. Dramatic Idyls; Second Series.

Contents

Echetlos.
Clive.
Muléykeh.
Pietro of Abano.
Doctor ----.
Pan and Luna.

1883. Jocoseria.

Contents

Wanting is--What?
Donald.
Solomon and Balkis.
Cristina and Monaldeschi.
Mary Wollstonecraft and Fuseli.
Adam, Lilith, and Eve.
Ixion.
Jochanan Hakkadosh.
Never the Time and the Place.
Pambo.

1884. Ferishtah's Fancies.

Contents

Prologue.
The Eagle.
The Melon-Seller.
Shah Abbas.
The Family.
The Sun.
Mihrab Shah.
A Camel-Driver.
Two Camels.
Cherries.
Plot Culture.
A Pillar at Sebzevar.
A Bean-Stripe: also Apple-Eating.
Epilogue.

1887. Parleyings with certain People of importance in their day:
To wit: Bernard de Mandeville, Daniel Bartoli, Christopher
Smart, George Bubb Dodington, Francis Furini, Gerard de
Lairesse, and Charles Avison. Introduced by A Dialogue
between Apollo and the Fates; concluded by another between
John Fust and his Friends.

1890. Asolando: Fancies and Facts.

Contents

Prologue.
Rosny.
Dubiety.
Now.
Humility.
Poetics.
Summum Bonum.
A Pearl, A. Girl.
Speculative.
White Witchcraft.
Bad Dreams: I.
" " II.
" " III.
" " IV.
Inapprehensiveness.
Which?
The Cardinal and the Dog.
The Pope and the Net.
The Bean-Feast.
Muckle-mouth Meg.
Arcades Ambo.
The Lady and the Painter.
Ponte dell' Angelo, Venice.
Beatrice Signorini.
Flute-Music, with an Accompaniment.
"Imperante Augusto natus est--"
Development.
Rephan.
Reverie.
Epilogue.

INDEX OF FIRST LINES OF POEMS

About that strangest, saddest, sweetest song, 602.

A certain neighbor lying sick to death, 932.

Ah, but--because you were struck blind, could bless, 970.

Ah, but how each loved each, Marquis! 914.

Ah, did you once see Shelley plain, 195.

Ah, George Bubb Dodington Lord Melcombe,--no, 961.

Ah, Love, but a day, 373.

Ah, the bird-like fluting, 999.

A king lived long ago, 140.

All I believed is true, 255.

All I can say is--I saw it! 811.

All June I bound the rose in sheaves, 190.

All service ranks the same with God, 145.

All's over then: does truth sound bitter, 170.

All that I know, 185.

All the breath and the bloom of the year in the bag of one bee, 988.

Among these latter busts we count by scores, 283.

And so, here happily we meet, fair friend, 736.

And so you found that poor room dull, 814.

"And what might that bold man's announcement be," 933.

Anyhow, once full Dervish, youngsters came, 930.

A Rabbi told me: On the day allowed, 906.

A simple ring with a single stone, 988.

As I ride, as I ride, 165.

Ask not one least word of praise! 941.

"As like as a Hand to another Hand!" 375.

At the midnight in the silence of the sleep-time, 1007.

"Ay, but, Ferishtah,"--a disciple smirked, 939.

Ay, this same midnight, by this chair of mine, 952.

Beautiful Evelyn Hope is dead! 171.

Boot, saddle, to horse, and away! 163.

But do not let us quarrel any more, 346.

But give them me, the mouth, the eyes, the brow! 395.

Christ God, who savest man, save most, 252.

Cleon the poet, from the sprinkled isles, 358.

Come close to me, dear friends; still closer: thus! 12.

Crescenzio, the Pope's Legate at the High Council, Trent, 991.

Dared and done: at last I stand upon the summit, Dear and True! 849.

Dear and great Angel, would'st thou only leave, 194.

Dear, had the world in its caprice, 191.

Dervish--though yet un-dervished, call him so, 929.

Don, the divinest women that have walked, 955.

"Enter my palace," if a prince should say, 947.

Escape me? 191.

Eyes, calm beside thee (Lady, couldst thou know!) 11.

"Fame!" Yes, I said it and you read it. First, 859.

Fear death?--to feel the fog in my throat, 395.

Fee, faw, fum! bubble and squeak! 281.

Fire is in the flint: true, once a spark escapes, 934.

First I salute this soil of the blessed, river and rock, 877.

Flame at my footfall, Parnassus! Apollo, 948.

Flower--I never fancied, jewel--I profess you! 812.

Flower o' the broom, 342.

Fortù, Fortù, my beloved one, 260.

Frowned the Laird on the Lord: So, red-handed I catch thee? 993.

Give her but a least excuse to love me, 137.

Going his rounds one day in Ispahan, 920.

Goldoni--good, gay, sunniest of souls, 910.

Good, to forgive, 849.

Grand rough old Martin Luther, 266.

Grow old along with me! 383.

Gr-r-r--there go, my heart's abhorrence! 167.

Had I but plenty of money, money enough and to spare, 174.

Hamelin Town's in Brunswick, 268.

Heap cassia, sandal-buds and stripes, 36.

"Heigho," yawned one day King Francis, 256.

Here is a story, shall stir you! Stand up, Greeks dead and gone,
892.

Here is a thing that happened. Like wild beasts whelped, for den,
879.

Here's my case. Of old I used to love him, 811.

Here's the garden she walked across, 166.

Here's to Nelson's memory! 166.

Here was I with my arm and heart, 380.

He was the man--Pope Sixtus, that Fifth, that swineherd's son, 992.

High in the dome, suspended, of Hell, sad triumph, behold us, 916.

Hist, but a word, fair and soft! 195.

How I lived, ere my human life began, 1004.

How of his fate, the Pilgrims' soldier-guide, 936.

How strange!--but, first of all, the little fact, 974.

How very hard it is to be, 327.

How well I know what I mean to do, 185.

I am a goddess of the ambrosial courts, 337.

I am a painter who cannot paint, 137.

I am indeed the personage you know, 817.

I am poor brother Lippo, by your leave! 342.

I and Clive were friends--and why not? 893.

I could have painted pictures like that youth's, 341.

I dream of a red-rose tree, 193.

If a stranger passed the tent of Hóseyn, he cried "A churl's!" 897.

If one could have that little head of hers, 396.

If you and I could change to beasts, what beast should either be?
989.

I hear a voice, perchance I heard, 22.

I know a Mount, the gracious Sun perceives, 361.

I know there shall dawn a day, 1005.

I leaned on the turf, 374.

I--"Next Poet?" No, my hearties, 807.

I only knew one poet in my life, 336.

I said--Then, dearest, since 'tis so, 267.

Is all our fire of shipwreck wood, 373.

I send my heart up to thee, all my heart, 262.

I sprang to the stirrup, and Joris, and he, 164.

It happened thus: my slab, though new, 990.

It is a lie--their Priests, their Pope, 169.

It once might have been, once only, 396.

It seems as if ... or did the actual chance, 959.

It was roses, roses, all the way, 251.

I've a Friend, over the sea, 258.

I will be happy if but for once, 987.

I will be quiet and talk with you, 374.

I wish that when you died last May, 395.

I wonder do you feel to-day, 189.

John, Master of the Temple of God, 280.

June was not over, 190.

Just for a handful of silver he left us, 164.

Karshish, the picker-up of learning's crumbs, 338.

Kentish Sir Byng stood for his King, 163.

King Charles, and who'll do him right now? 163.

"Knowledge deposed, then!"--groaned whom that most grieved, 940.

Last night I saw you in my sleep, 989.

Let's contend no more, Love, 171.

Let them fight it out, friend! things have gone too far, 193.

Let the watching lids wink! 130.

Let us begin and carry up this corpse, 279.

"Look, I strew beans," 942.

Man I am and man would be, Love--merest man and nothing more, 933.

May I print, Shelley, how it came to pass, 821.

Morning, evening, noon and night, 253.

Moses the Meek was thirty cubits high, 927.

My father was a scholar and knew Greek, 1002.

My first thought was, he lied in every word, 287.

My grandfather says he remembers he saw, when a youngster long ago,
875,

My heart sank with our Claret-flask, 166.

My love, this is the bitterest, that thou, 187.

Nay but you, who do not love her, 170.

Nay, _that_, Furini, never I at least, 964.

Never any more, 192.

Never the time and the place, 928.

Nobly, nobly Cape Saint Vincent to the Northwest died away, 179.

"No, boy, we must not"--so began, 823.

No, for I'll save it! Seven years since, 412.

No more wine? then we'll push back chairs, and talk, 349.

No protesting, dearest! 814.

Not with my Soul, Love!--bid no soul like mine, 940.

Now, don't, sir! Don't expose me! Just this once! 397.

Now that I, tying thy glass mask tightly, 168.

O bell' andare, 70.

Of the million or two, more or less, 254.

Oh, but is it not hard, Dear? 916.

Oh Galuppi, Baldassare, this is very sad to find! 175.

Oh, good gigantic smile o' the brown old earth, 375.

Oh Love! Love, thou that from the eyes diffusest, 874.

Oh, Love--no, Love! All the noise below, Love, 946.

Oh, the beautiful girl, too white, 577.

Oh, to be in England, 179.

Oh, what a dawn of day! 172.

Oh worthy of belief I hold it was, 909.

Once I saw a chemist take a pinch of powder, 938.

One day, it thundered and lightened, 916.

Only the prism's obstruction shows aright, 395.

On the first of the Feast of Feasts, 413.

On the sea and at the Hogue, sixteen hundred ninety-two, 815.

O the old wall here! How I could pass, 802.

Others may need _new_ life in Heaven, 988.

O trip and skip, Elvire! Link arm in arm with me! 702.

Out of the little chapel I burst, 318.

Out of your whole life give but a moment! 988.

Overhead the treetops meet, 144.

Over the ball of it, 810.

Over the sea our galleys went, 38.

Past we glide, and past, and past! 262.

Pauline, mine own, bend o'er me--thy soft breast, 2.

_Petrus Aponensis_--there was a magician! 899.

Plague take all your pedants, say I! 167.

Pray, Reader, have you eaten ortolans, 929.

Query: was ever a quainter, 802.

Quoth an inquirer, Praise the Merciful! 934.

Quoth one: Sir, solve a scruple! No true sage, 937.

Room after room, 191.

Round the cape of a sudden came the sea, 170.

Round us the wild creatures, overhead the trees, 930.

Said Abner, "At last thou art come! Ere I tell, ere thou speak, 179.

Savage I was sitting in my house, late, lone, 735.

See, as the prettiest graves will do in time, 170.

Shakespeare!--to such name's sounding, what succeeds, 947.

Shall I sonnet-sing you about myself? 808.

She should never have looked at me, 169.

Sighed Rawdon Brown: Yes, I'm departing, Toni! 947.

Sing me a hero! Quench my thirst, 887.

So far as our story approaches the end, 267.

So, friend, your shop was all your house! 809.

So, I shall see her in three days, 192.

Solomon King of the Jews and the Queen of Sheba, Balkis, 913.

Some people hang portraits up, 396.

"So say the foolish!" Say the foolish so, Love? 988.

So, the head aches and the limbs are faint! 936.

So, the three Court-ladies began, 991.

So, the year's done with! 170.

Stand still, true poet that you are! 195.

Still ailing, Wind? Wilt be appeased or no? 374.

Still you stand, still you listen, still you smile! 812.

Stop, let me have the truth of that! 379.

Stop playing, poet! May a brother speak? 335.

Stop rowing! This one of our bye-canals, 994.

Such a starved bank of moss, 859.

Supposed of Pamphylax the Antiochene, 385.

Suppose that we part (work done, comes play), 928.

Take the cloak from his face, and at first, 194.

That fawn-skin-dappled hair of hers, 190.

That oblong book's the Album; hand it here! 773.

That second time they hunted me, 258.

That's my last Duchess painted on the wall, 252.

That was I, you heard last night, 189.

The bee with his comb, 144.

The blind man to the maiden said, 910.

The fancy I had to-day, 701.

The gods I ask deliverance from these labors, 831.

The gray sea and the long black land, 170.

The Lord, we look to once for all, 280.

The morn when first it thunders in March, 176.

The moth's kiss, first! 262.

The Poet's age is sad: for why? 987.

"The poets pour us wine--" 827.

The rain set early in to-night, 286.

There is nothing to remember in me, 376.

There's a palace in Florence, the world knows well, 283.

There's a woman like a dew-drop, she's so purer than the purest,
220.

There's heaven above, and night by night, 341.

There they are, my fifty men and women, 361.

The swallow has set her six young on the rail, 373.

The year's at the spring, 133.

"They tell me, your carpenters," quoth I to my friend the Russ, 880.

This is a spray the Bird clung to, 189.

This now, this other story makes amends, 918.

This strange thing happened to a painter once, 996.

This was my dream; I saw a Forest, 990.

Thou, whom these eyes saw never! Say friends true, 948.

Thus I wrote in London, musing on my betters, 910.

Touch him ne'er so lightly, into song he broke, 910.

'T was Bedford Special Assize, one daft Midsummer's Day, 887.

Up jumped Tokay on our table, 166.

Up, up, up--next step of the staircase, 979.

Vanity, saith the preacher, vanity! 348.

Verse-making was least of my virtues: I viewed with despair, 939.

Wanting is--what? 911.

We two stood simply friend-like side by side, 991.

We were two lovers; let me lie by her, 812.

What are we two? 263.

What girl but, having gathered flowers, 988.

What, he on whom our voices unanimously ran, 992.

What, I disturb thee at thy morning meal, 938.

What is he buzzing in my ears? 394.

What it was struck the terror into me? 1001.

What's become of Waring, 264.

When I vexed, you and you chid me, 937.

Where the quiet-colored end of evening smiles, 171.

Who hears of Helen's Tower, may dream perchance, 601.

Who will, may hear Sordello's story told, 75.

"Why?" Because all I haply can and do, 948.

Why from the world, Ferishtah smiled, should thanks, 946.

Will sprawl, now that the heat of day is best, 392.

Will you hear my story also, 911.

Wind, wave, and bark, bear Euthukles and me, 628.

Wish no word unspoken, want no look away, 930.

Woe, he went galloping into the war, 987.

Would a man 'scape the rod? 372.

Would it were I had been false, not you! 378.

Would that the structure Wave, the manifold music I build, 382.

Yet womanhood you reverence, 993.

"You are sick, that's sure,"--they say, 892.

You blame me that I ran away? 993.

You groped your way across my room i' the drear dark dead of night,
932.

You have seen better days, dear? So have I, 682.

You in the flesh and here, 989.

You know, we French stormed Ratisbon, 251.

You'll love me yet!--and I can tarry, 142.

You're my friend, 271.

Your ghost will walk, you lover of trees, 178.

GENERAL INDEX OF TITLES

[_The titles of major works and general divisions are set in_ SMALL CAPITALS.]

Abt Vogler, (after he has been Extemporizing upon the Musical
Instrument of his Invention), 382.

Adam, Lilith, and Eve, 916.

After, 194.

AGAMEMNON OF ÆSCHYLUS, THE, 830.

Andrea del Sarto, 346.

Another Way of Love, 190.

Any Wife to Any Husband, 187.

Apollo and the Fates, 948.

Apparent Failure, 412.

Appearances, 814.

Arcades Ambo, 993.

ARISTOPHANES' APOLOGY, 628.

Artemis Prologizes, 337.

ASOLANDO, 986.

At the "Mermaid," 807.

Bad Dreams, 989.

BALAUSTION'S ADVENTURE, 602.

Bean-Feast, The, 992.

Bean-Stripe, A: also Apple-Eating, 942.

Beatrice Signorini, 996.

Before, 193.

Ben Karshook's Wisdom, 372.

Bernard de Mandeville, Parleyings with, 952.

Bifurcation, 812.

Bishop Blougram's Apology, 349.

Bishop, The, orders his Tomb at Saint Praxed's Church, 348.

Blind Man to the Maiden, The, 910.

BLOT IN THE 'SCUTCHEON, A, 216.

Boot and Saddle, 163.

Boy and the Angel, The, 253.

By the Fireside, 185.

Caliban upon Setebos, 392.

Camel-Driver, A, 936.

Cardinal and the Dog, The, 991.

Cavalier Tunes, 163.

Cenciaja, 820.

Charles Avison, Parleyings with, 974.

Cherries, 938.

"Childe Roland to the Dark Tower came," 287.

CHRISTMAS-EVE AND EASTER-DAY, 316.

Christopher Smart, Parleyings with, 959.

Cleon, 358.

Clive, 893.

COLOMBE'S BIRTHDAY, 230.

Confessional, The, 169.

Confessions, 394.

Count Gismond, 252.

Cristina, 169.

Cristina and Monaldeschi, 914.

Daniel Bartoli, Parleyings with, 955.

Deaf and Dumb, 395.

Death in the Desert, A, 385.

"De Gustibus," 178.

Development, 1002.

Dîs Aliter Visum, 379.

Doctor----, 906.

Donald, 911.

DRAMATIC IDYLS, 875.

DRAMATIC LYRICS, 163.

DRAMATIC ROMANCES, 251.

DRAMATIS PERSONÆ, 373.

Dubiety, 987.

Eagle, The, 929.

Earth's Immortalities, 170.

Easter-Day, 327.

Echetlos, 892.

Englishman in Italy, The, 260.

Epilogue (to Asolando), 1007.

Epilogue (to Dramatis Personæ), 413.

Epilogue (to Ferishtah's Fancies), 946.

Epilogue (to Fifine at the Fair), 735.

Epilogue (to Pacchiarotto), 827.

Epistle, An, containing the Strange Medical Experience of Karshish,
the Arab Physician, 338.

Epitaph on Levi Lincoln Thaxter, 947.

Eurydice to Orpheus, 395.

Evelyn Hope, 171.

Face, A, 396.

Fame, 170.

Family, The, 922.

Fears and Scruples, 811.

FERISHTAH'S FANCIES, 929.

FIFINE AT THE FAIR, 701.

Filippo Baldinucci on the Privilege of Burial, 823.

Flight of the Duchess, The, 271.

Flower's Name, The, 166.

Flute-Music, with an Accompaniment, 999.

Forgiveness, A, 817.

Founder of the Feast, The, 947.

Fra Lippo Lippi, 342.

Francis Furini, Parleyings with, 964.

Fust and his Friends, 979.

Garden Fancies, 166.

George Bubb Dodington, Parleyings with, 961.

Gerard de Lairesse, Parleyings with, 970.

Give a Rouse, 163.

Glove, The, 256.

Gold Hair, 376.

Goldoni, 910.

Grammarian's Funeral, A, 279.

Guardian Angel, The, 194.

Halbert and Hob, 879.

Helen's Tower, 601.

Herakles, 660.

Heretic's Tragedy, The, 280.

Hervé Riel, 815.

Holy-Cross Day, 281.

Home-Thoughts, from Abroad, 179.

Home-Thoughts, from the Sea, 179.

House, 808.

How it strikes a Contemporary, 336.

"How they brought the Good News from Ghent to Aix," 164.

Humility, 938.

"Imperante Augusto Natus Est--" 1001.

IN A BALCONY, 364.

In a Gondola, 262.

Inapprehensiveness, 991.

In a Year, 192.

Incident of the French Camp, 251.

INN ALBUM, THE, 773.

Instans Tyrannus, 254.

In Three Days, 192.

Italian in England, The, 258.

Ivàn Ivànovitch, 880.

Ixion, 916.

James Lee's Wife, 373.

Jochanan Hakkadosh, 918.

JOCOSERIA, 911.

Johannes Agricola in Meditation, 341.

KING VICTOR AND KING CHARLES, 145.

Laboratory, The, 168.

Lady and the Painter, The, 993.

LA SAISIAZ, 849.

Last Ride Together, The, 267.

Life in a Love, 191.

Light Woman, A, 267.

Likeness, A, 396.

Lost Leader, The, 164.

Lost Mistress, The, 170.

Love, 170.

Love among the Ruins, 171.

Love in a Life, 191.

Lovers' Quarrel, A, 172.

LURIA, 299.

Magical Nature, 812.

Marching Along, 163.

Martin Relph, 875.

Mary Wollstonecraft and Fuseli, 916.

Master Hugues of Saxe-Gotha, 195.

May and Death, 395.

Meeting at Night, 170.

Melon-Seller, The, 930.

Memorabilia, 195.

MEN AND WOMEN, 335.

Mesmerism, 255.

Misconceptions, 189.

Mihrab Shah, 934.

Mr. Sludge, "the Medium," 397.

Muckle-Mouth Meg, 993.

Muléykeh, 897.

My Last Duchess, 252.

My Star, 184.

Names, The, 947.

Nationality in Drinks, 166.

Natural Magic, 811.

Ned Bratts, 887.

Never the Time and the Place, 928.

Now, 988.

Numpholeptos, 812.

Oh Love! Love, 874.

Old Pictures in Florence, 176.

One Way of Love, 190.

One Word More, 361.

PACCHIAROTTO, OF, AND HOW HE WORKED IN DISTEMPER, 802.

Pambo, 928.

Pan and Luna, 909.

PARACELSUS, 12.

PARLEYINGS WITH CERTAIN PEOPLE OF IMPORTANCE IN THEIR DAY, 948.

Parting at Morning, 170.

Patriot, The, 251.

PAULINE, 1.

Pearl, a Girl, A, 988.

Pheidippides, 877.

Pictor Ignotus, 341.

Pied Piper of Hamelin, The, 268.

Pietro of Abano, 899.

Pillar at Sebzevar, A, 940.

PIPPA PASSES, 128.

Pisgah-Sights, 810.

Plot-Culture, 739.

Poetics, 988.

Ponte Dell' Angelo, Venice, 994.

Pope and the Net, The, 992.

Popularity, 195.

Porphyria's Lover, 286.

Pretty Woman, A, 190.

PRINCE HOHENSTIEL-SCHWANGAU, SAVIOUR OF SOCIETY, 681.

Prologue (to Asolando), 987.

Prologue (to Ferishtah's Fancies), 929.

Prologue (to Fifine at the Fair), 701.

Prologue (to Pacchiarotto), 802.

Prospice, 395.

Protus, 283.

Rabbi Ben Ezra, 383.

Rawdon Brown, 947.

RED COTTON NIGHT-CAP COUNTRY; OR TURF AND TOWERS, 736.

Rephan, 1003.

Respectability, 191.

RETURN OF THE DRUSES, THE, 197.

Reverie, 1005.

RING AND THE BOOK, THE, 414.

Rosny, 987.

Rudel to the Lady of Tripoli, 361.

St. Martin's Summer, 814.

Saul, 179.

Serenade at the Villa, A, 189.

Shah Abbas, 930.

Shop, 809.

Sibrandus Schafnaburgensis, 167.

Soliloquy of the Spanish Cloister, 167.

Solomon and Balkis, 913.

Song: "Nay but you, who do not love her," 170.

Sonnet: "Eyes, calm beside thee (Lady, couldst thou know!)," 11.

SORDELLO, 74.

SOUL'S TRAGEDY, A, 289.

Speculative, 988.

Statue and the Bust, The, 283.

STRAFFORD, 49.

Summum Bonum, 988.

Sun, The, 933.

Thaxter, Levi Lincoln, Epitaph on, 947.

Through the Metidja to Abd-el-Kadr, 165.

Time's Revenges, 258.

Toccata of Galuppi's, A, 175.

Too Late, 380.

"Touch him ne'er so lightly," 910.

"Transcendentalism: A Poem in Twelve Books," 335.

Tray, 887.

Twins, The, 266.

Two Camels, 937.

Two in the Campagna, 189.

TWO POETS OF CROISIC, THE, 859.

Up at a Villa--Down in the City, 174.

Wanting is--What? 911.

Waring, 264.

Which? 991.

White Witchcraft, 989.

Why I am a Liberal, 948.

Woman's Last Word, A, 171.

Women and Roses, 193.

Worst of It, The, 378.

Youth and Art, 396.

FOOTNOTES:

[Footnote 1: The materials for this sketch are drawn from Mrs. Sutherland Orr's _Life and Letters of Robert Browning_, Mr. William Sharp's _Life of Robert Browning_, and Mr. Edmund Gosse's _Robert Browning: Personalia_.]

[Footnote 2: Citrinula (flammula) herba Paracelso multum familiaris.--DORN.]

[Footnote 3: "He maketh his sun to rise on the evil and on the good, and sendeth rain on the just and on the unjust."]

[Footnote 4: Pope Gregory XVI. abolished this bad business of the Sermon--R. B.]

[Footnote 5: No, please! For

"Who would be satirical
On a thing so very small?"--_Printer's Devil._

]

[Footnote 6: "Quis Æschylum possit affirmare Græce nunc scienti magis patere explicabilem quam Evangelia aut Epistolas Apostolicas? Unus ejus Agamemnon obscuritate superat quantum est librorum sacrorum cum suis Hebraismis et Syriasmis et tota Hellenisticæ supellectili vel farragine."--SALMASIUS _de Hellenstica_, Epist. Dedic.]

[Footnote 7: _Poems_ by MATTHEW ARNOLD, Preface.]

[Footnote 8: _Lettres à un jeune Prince_, traduites du Suédois.]

[Footnote 9:

They did not eat
His flesh, nor suck those oils which thence outstreat.

DONNE'S _Progress of the Soul_, line 344.

]

[Footnote 10: See note at end of volume.]

[Footnote 11: Or, to take our illustrations from the writings of Shelley himself, there is such a thing as admirably appreciating a work by Andrea Verochio,--and fancifully characterizing the Pisan Torre Guelfa by the Ponte a Mare, black against the sunsets,--and consummately painting the islet of San Clemente with its penitentiary for rebellious priests, to the west between Venice and the Lido--while you believe the first to be a fragment of an antique sarcophagus,--the second, Ugolino's Tower of Famine (the vestiges of which should be sought for in the Piazza de' Cavalieri)--and the third (as I convinced myself last summer at Venice), San Servolo with its mad-house--which, far from being "windowless," is as full of windows as a barrack.]

[Footnote 12: _Paracelsus_ would seem to be a fantastic version of _Von Hohenheim;_ Einsiedeln is the Latinized Eremus, whence Paracelsus is sometimes called, as in the correspondence of Erasmus, Eremita. Bombast, his proper name, probably acquired, from the characteristic phraseology of his lectures, that unlucky signification which it has ever since retained.]

[Footnote A: I shall disguise M. Renauldin's next sentence a little. "Hic (Erastus sc.) Paracelsum trimum a milite quodam, alii a sue exectum ferunt: constat imberbem illum, mulierumque osorem fuisse." A standing High-Dutch joke in those days at the expense of a number of learned men, as may be seen by referring to such rubbish as Melander's _Jocoseria_, etc. In the prints from his portrait by Tintoretto, painted a year before his death, Paracelsus is _barbatulus_, at all events. But Erastus was never without a good reason for his faith--_e. g._, "Helvetium fuisse (Paracelsum) vix credo, vix enim ea regio tale monstrum ediderit." (_De Medicina Nova._)]

[Footnote 13: Then Bishop of Spanheim, and residing at Würzburg in Franconia; a town situated in a grassy fertile country, whence its name, Herbipolis. He was much visited there by learned men, as may be seen by his _Epistolæ Familiares_, Hag. 1536: among others, by his stanch friend Cornelius Agrippa, to whom he dates thence, in 1510, a letter in answer to the dedicatory epistle prefixed to the treatise _De Occult. Philosoph._ which last contains the following ominous allusion to Agrippa's sojourn: "Quum nuper tecum, R. P. in cœnobia tuo apud Herbipolim aliquamdiu conversatus, multa de chymicis, multa de magicis, multa de cabalisticis, cæterisque quæ adhuc in occulto delitescunt, arcanis scientiis atque artibus una contulissemus," etc.]

[Footnote 14: "Inexplebilis illa aviditas naturæ perscrutandi secreta et reconditarum supellectile scientiarum animum locupletandi, uno eodemque loco diu persistere non patiebatur, sed Mercurii instar, omnes terras, nationes et urbes perlustrandi igniculos supponebat, ut cum viris naturæ scrutatoribus, chymicis præsertim, ore tenus conferret, et quæ diurturnis laboribus nocturnisque vigiliis invenerant unavel altera communicatione obtineret." (BITISKIUS in _Præfat_.) "Patris auxilio primum, deinde propria industria doctissimos viros in Germania, Italia, Gallia, Hispania, aliisque Europæ regionibus, nactus est præceptores; quorum liberali doctrina, et potissimum propria inquisitione ut qui esset ingenio acutissimo acfere divino, tantum profecit, ut multi testati sint, in universa philosophia, tam ardua, tam arcana et abdita eruisse mortalium neminem." (MELCH. ADAM, in _Vit. Germ. Medic._) "Paracelsus qui in intima naturæ viscera sic penitus introierit, metallorum stirpiumque vires et facultates tam incredibili ingenii acumine exploraverit ac perviderit, ad morbos omnes vel desperatos et opinione hominum insanabiles percurandum; ut cum Theophrasto nata primum medicina perfectaque videtur." (PETRI RAMI, _Orat. de Basilea_.) His passion for wandering is best described in his own words: "Ecce amatorem adolescentem difficillimi itineris haud piget, ut venustam saltem puellam vel fœminam aspiciat: quanto minus nobilissimarum artium araore laboris ac cujuslibet tædii pigebit?" etc. (_Defensiones Septem adversus æmulos suos._ 1573. Def. 4ta "De peregrinationibus et exilio.")]

[Footnote B: Erastus, who relates this, here oddly remarks, "mirum quod non et Garamantos, Indos et _Anglos_ adjunxit." Not so wonderful neither, if we believe what another adversary "had heard somewhere,"--that all Paracelsus' system came of his pillaging "Anglum quendam, Rogerium Bacchonem."]

[Footnote C: See his works, _passim_. I must give one specimen:--Somebody had been styling him "Luther alter." "And why not?" (he asks, as he well might.) "Luther is abundantly learned, therefore you hate him and me; but we are at least a match for you.--Nam et contra vos et vestros universos principes Avicennam, Galenum, Aristotelem, etc. me satis superque munitum esse novi. Et vertex iste meus calvus ac depilis multo plura et sublimiora novit quam vester vel Avicenna vel universæ academiæ. Prodite, et signum date, qui viri sitis, quid roboris habeatis? quid autem sitis? Doctores et magistri, pediculos pectentes et fricantes podicem." (_Frag. Med._)]

[Footnote 15: A disgraceful affair. One Liechtenfels, a canon, having been rescued _in extremis_ by the "_laudanum_" of Paracelsus, refused the stipulated fee, and was supported in his meanness by the authorities, whose interference Paracelsus would not brook. His own liberality was allowed by his bitterest foes, who found a ready solution of his indifference to profit in the aforesaid sword-handle and its guest. His freedom from the besetting sin of a profession he abhorred--(as he curiously says somewhere, "Quis quæso deinceps honorem deferat professione tali, quæ a tam facinorosis nebulonibus obitur et administratur?")--is recorded in his epitaph, which affirms--"Bona sua in pauperes distribuenda collocandaque erogavit," _honoravit_, or _ordinavit_--for accounts differ.]

[Footnote D: "So migratory a life could afford Paracelsus but little leisure for application to books, and accordingly he informs us that for the space of ten years he never opened a single volume, and that his whole medical library was not composed of six sheets: in effect, the inventory drawn up after his death states that the only books which he left were the Bible, the New Testament, the Commentaries of St. Jerome on the Gospels, a printed volume on Medicine, and seven manuscripts."]