_THE LAST POEMS_
Two Volumes of Dramatic Idyls, one in 1879, the other in 1880, followed
_La Saisiaz_ and _The Two Poets of Croisic_. These are also mixed books,
composed, partly of studies of character written in rhythmical prose,
and partly of poems wrought out of the pure imagination. Three of
them--if they were written at this time--show how the Greek legends
still dwelt with Browning; and they brought with them the ocean-scent,
heroic life, and mythical charm of Athenian thought. It would be
difficult, if one could write of them at all, not to write of them
poetically; and _Pheidippides, Echetlos, Pan and Luna_ are alive with
force, imaginative joy, and the victorious sense the poet has of having
conquered his material. _Pheidippides_ is as full of fire, of careless
heroism as _Hervé Riel_, and told in as ringing verse. The versing of
_Echetlos_, its rugged, rousing sound, its movement, are in most
excellent harmony with the image of the rude, giant "Holder of the
ploughshare," who at Marathon drove his furrows through the Persians and
rooted up the Mede. Browning has gathered into one picture and one sound
the whole spirit of the story. _Pan and Luna_ is a bold re-rendering of
the myth that Vergil enshrines, and the greater part of it is of such
poetic freshness that I think it must be a waif from the earlier years
of his poetry. Nor is there better imaginative work in his descriptive
poetry than the image of the naked moon, in virginal distress, flying
for refuge through the gazing heaven to the succourable cloud--fleece on
fleece of piled-up snow, drowsily patient--where Pan lay in ambush for
her beauty.
Among these more gracious idyls, one of singular rough power tells the
ghastly tale of the mother who gave up her little children to the wolves
to save herself. Browning liked this poem, and the end he added to the
story--how the carpenter, Ivan, when the poor frightened woman
confessed, lifted his axe and cut off her head; how he knew that he did
right, and was held to have done right by the village and its pope. The
sin by which a mother sacrificed the lives of her children to save her
own was out of nature: the punishment should be outside of ordinary law.
It is a piteous tale, and few things in Browning equal the horror of the
mother's vain attempt to hide her crime while she confesses it. Nor does
he often show greater imaginative skill in metrical movement than when
he describes in galloping and pattering verse the grey pack emerging
from the forest, their wild race for the sledge, and their demon leader.
The other idyls in these two volumes are full of interest for those who
care for psychological studies expressed in verse. What the vehicle of
verse does for them is to secure conciseness and suggestiveness in the
rendering of remote, daring, and unexpected turns of thought and
feeling, and especially of conscience. Yet the poems themselves cannot
be called concise. Their subjects are not large enough, nor indeed
agreeable enough, to excuse their length. Goethe would have put them
into a short lyrical form. It is impossible not to regret, as we read
them, the Browning of the _Dramatic Lyrics_. Moreover, some of them are
needlessly ugly. _Halbert and Hob_--and in _Jocoseria_--_Donald_, are
hateful subjects, and their treatment does not redeem them; unlike the
treatment of _Ivan Ivanovitch_ which does lift the pain of the story
into the high realms of pity and justice. Death, swift death, was not
only the right judgment, but also the most pitiful. Had the mother
lived, an hour's memory would have been intolerable torture.
Nevertheless, if Browning, in his desire to represent the whole of
humanity, chose to treat these lower forms of human nature, I suppose we
must accept them as an integral part of his work; and, at least, there
can be no doubt of their ability, and of the brilliancy of their
psychological surprises. _Ned Bratts_ is a monument of cleverness, as
well as of fine characterisation of a momentary outburst of conscience
in a man who had none before; and who would have lost it in an hour, had
he not been hanged on the spot. The quick, agile, unpremeditated turns
of wit in this poem, as in some of the others, are admirably easy, and
happily expressed. Indeed, in these later poems of character and event,
ingenuity or nimbleness of intellect is the chief element, and it is
accompanied by a facile power which is sometimes rude, often careless,
always inventive, fully fantastical, and rarely imaginative in the
highest sense of the word. Moreover, as was not the case of old, they
have, beyond the story, a direct teaching aim, which, while it lowers
them as art, is very agreeable to the ethical psychologist.
_Jocoseria_ has poems of a higher quality, some of which, like the
lovely _Never the Time and Place_, I have been already quoted. _Ixion_
is too obscurely put to attain its end with the general public. But it
may be recommended, though vainly, to those theologians who, hungry for
the Divine Right of torture, build their God, like Caliban, out of their
own minds; who, foolish enough to believe that the everlasting endurance
of evil is a necessary guarantee of the everlasting endurance of good,
are still bold and bad enough to proclaim the abominable lie of eternal
punishment. They need that spirit the little child whom Christ placed in
the midst of his disciples; and in gaining which, after living the life
of the lover, the warrior, the poet, the statesman, _Jochanan Hakkadosh_
found absolute peace and joy. Few poems contain more of Browning's
matured theory of life than this of the Jewish Rabbi; and its
seriousness is happily mingled with imaginative illustrations and with
racy wit. The sketch of Tsaddik, who puts us in mind of Wagner in the
_Faust_, is done with a sarcastic joy in exposing the Philistine, and
with a delight in its own cleverness which is fascinating.
_Ferishtah's Fancies_ and _Parleyings with Certain People_ followed
_Jocoseria_ in 1884 and 1887. The first of these books is much the
better of the two. A certain touch of romance is given by the Dervish,
by the Fables with which he illustrates his teaching, and by the Eastern
surroundings. Some of the stories are well told, and their scenery is
truthfully wrought and in good colour. The subjects are partly
theological, with always a reference to human life; and partly of the
affections and their working. It is natural to a poet, and delightful in
Browning, to find him in his old age dwelling from poem to poem on the
pre-eminence of love, on love as the ultimate judge of all questions. He
asserts this again and again; with the greatest force in _A Pillar at
Sebzevar_, and, more lightly, in _Cherries_. Yet, and this is a pity, he
is not satisfied with the decision of love, but spends pages in
argumentative discussions which lead him away from that poetical
treatment of the subjects which love alone, as the master, would have
enabled him to give. However, the treatment that love gives we find in
the lyrics at the end of each _Fancy_; and some of these lyrics are of
such delicate and subtle beauty that I am tempted to think that they
were written at an earlier period, and their _Fancies_ composed to fit
them. If they were written now, it is plain that age had not disenabled
him from walking with pleasure and power among those sweet, enamelled
meadows of poetry in whose soil he now thought great poetry did not
grow. And when we read the lyrics, our regret is all the more deep that
he chose the thorn-clad and desert lands, where barren argument goes
round and round its subjects without ever finding the true path to their
centre.
He lost himself more completely in this error in _Parleyings with
Certain People_, in which book, with the exception of the visionary
landscapes in _Gerard de Lairesse_, and some few passages in _Francis
Furini_ and _Charles Avison_, imagination, such as belongs to a poet,
has deserted Browning. He feels himself as if this might be said of
him; and he asks in _Gerard de Lairesse_ if he has lost the poetic
touch, the poetic spirit, because he writes of the soul, of facts, of
things invisible--not of fancy's feignings, not of the things perceived
by the senses? "I can do this," he answers, "if I like, as well as you,"
and he paints the landscape of a whole day filled with mythological
figures. The passage is poetry; we see that he has not lost his poetic
genius. But, he calls it "fooling," and then contrasts the spirit of
Greek lore with the spirit of immortal hope and cheer which he
possesses, with his faith that there is for man a certainty of Spring.
But that is not the answer to his question. It only says that the spirit
which animates him now is higher than the Greek spirit. It does not
answer the question--Whether _Daniel Bartoli_ or _Charles Avison_ or any
of these _Parleyings_ even approach as poetry _Paracelsus_, the
_Dramatic Lyrics_, or _Men and Women_. They do not. Nor has their
intellectual work the same force, unexpectedness and certainty it had of
old. Nevertheless, these _Parleyings_, at the close of the poet's life,
and with biographical touches which give them vitality, enshrine
Browning's convictions with regard to some of the greater and lesser
problems of human life. And when his personality is vividly present in
them, the argument, being thrilled with passionate feeling, rises, but
heavily like a wounded eagle, into an imaginative world.
The sub-consciousness in Browning's mind to which I have alluded--that
these later productions of his were not as poetical as his earlier work
and needed defence--is the real subject of a remarkable little poem at
the end of the second volume of the _Dramatic Idyls_. He is thinking of
himself as poet, perhaps of that double nature in him which on one side
was quick to see and love beauty; and on the other, to see facts and
love their strength. Sometimes the sensitive predominated. He was only
the lover of beauty whom everything that touched him urged into song.
"Touch him ne'er so lightly, into song he broke:
Soil so quick-receptive,--not one feather-seed,
Not one flower-dust fell but straight its fall awoke
Vitalising virtue: song would song succeed
Sudden as spontaneous--prove a poet-soul!"
This, which Browning puts on the lips of another, is not meant, we are
told, to describe himself. But it does describe one side of him very
well, and the origin and conduct of a number of his earlier poems. But
now, having changed his manner, even the principles of his poetry, he
describes himself as different from that--as a sterner, more iron poet,
and the work he now does as more likely to endure, and be a power in the
world of men. He was curiously mistaken.
Indeed, he cries, is that the soil in which a poet grows?
"Rock's the song-soil rather, surface hard and bare:
Sun and dew their mildness, storm and frost their rage
Vainly both expend,--few flowers awaken there:
Quiet in its cleft broods--what the after-age
Knows and names a pine, a nation's heritage."
In this sharp division, as in his _Epilogue_ to _Pacchiarotto_, he
misses the truth. It is almost needless to say that a poet can be
sensitive to beauty, and also to the stern facts of the moral and
spiritual struggle of mankind through evil to good. All the great poets
have been sensitive to both and mingled them in their work. They were
ideal and real in both the flower and the pine. They are never forced
to choose one or other of these aims or lives in their poetry. They
mingled facts and fancies, the intellectual and the imaginative. They
lived in the whole world of the outward and the inward, of the senses
and the soul. Truth and beauty were one to them. This division of which
Browning speaks Was the unfortunate result of that struggle between his
intellect and his imagination on which I have dwelt. In old days it was
not so with him. His early poetry had sweetness with strength, stern
thinking with tender emotion, love of beauty with love of truth,
idealism with realism, nature with humanity, fancy with fact. And this
is the equipment of the great poet. When he divides these qualities each
from the other, and is only æsthetic or only severe in his realism; only
the worshipper of Nature or only the worshipper of human nature; only
the poet of beauty or only the poet of austere fact; only the idealist
or only the realist; only of the senses or only of the soul--he may be a
poet, but not a great poet. And as the singular pursuit of the realistic
is almost always bound up with pride, because realism does not carry us
beyond ourselves into the infinite where we are humbled, the realistic
poetry loses imagination; its love of love tends to become self-love, or
love of mere cleverness. And then its poetic elements slowly die.
There was that, as I have said, in Browning which resisted this sad
conclusion, but the resistance was not enough to prevent a great loss of
poetic power. But whatever he lost, there was one poetic temper of mind
which never failed him, the heroic temper of the faithful warrior for
God and man; there was one ideal view of humanity which dominated all
his work; there was one principle which directed all his verse to
celebrate the struggle of humanity towards the perfection for which God,
he believed, had destined it. These things underlie all the poems in
_Ferishtah's Fancies_ and the _Parleyings with Certain People_, and give
to them the uplifted, noble trumpet note with which at times they are
animated. The same temper and principle, the same view of humanity
emerge in that fine lyric which is the Epilogue to _Ferishtah's
Fancies_, and in the Epilogue to _Asolando_.
The first sees a vision of the present and the future in which all the
battle of our life passes into a glorious end; nor does the momentary
doubt that occurs at the close of the poem--that his belief in a divine
conclusion of our strife may only have been caused by his own happiness
in love--really trouble his conviction. That love itself is part of the
power which makes the noble conclusion sure. The certainty of this
conclusion made his courage in the fight unwavering, despair impossible,
joy in battle, duty; and to be "ever a fighter" in the foremost rank the
highest privilege of man.
Then the cloud-rift broadens, spanning earth that's under,
Wide our world displays its worth, man's strife and strife's success:
All the good and beauty, wonder crowning wonder,
Till my heart and soul applaud perfection, nothing less.
And for that reason, because of the perfectness to come, Browning lived
every hour of his life for good and against wrong. He said with justice
of himself, and with justice he brought the ideal aim and the real
effort together:
I looked beyond the world for truth and beauty:
Sought, found, and did my duty.
Nor, almost in the very grasp of death, did this faith fail him. He
kept, in the midst of a fretful, slothful, wailing world, where prophets
like Carlyle and Ruskin were as impatient and bewildered, as lamenting
and despondent, as the decadents they despised, the temper of his
Herakles in _Balaustion_. He left us that temper as his last legacy, and
he could not have left us a better thing. We may hear it in his last
poem, and bind it about our hearts in sorrow and joy, in battle and
peace, in the hour of death and the days of judgment.
At the midnight in the silence of the sleep-time
When you set your fancies free,
Will they pass to where--by death, fools think, imprisoned--
Low he lies who once so loved you, whom you loved so
--Pity me?
Oh to love so, be so loved, yet so mistaken
What had I on earth to do
With the slothful, with the mawkish, the unmanly?
Like the aimless, helpless, hopeless, did I drivel
--Being--who?
One who never turned his back, but marched breast forward,
Never doubted clouds would break,
Never dreamed, though right were worsted, wrong would triumph,
Held we fall to rise, are baffled to fight better,
Sleep to wake.
No, at noonday in the bustle of man's work-time
Greet the unseen with a cheer!
Bid him forward, breast and back as either should be,
"Strive and thrive!" cry "Speed,--fight on, fare ever
There as here!"
With these high words he ended a long life, and his memory still falls
upon us, like the dew which fell on Paradise. It was a life lived fully,
kindly, lovingly, at its just height from the beginning to the end. No
fear, no vanity, no lack of interest, no complaint of the world, no
anger at criticism, no villain fancies disturbed his soul. No laziness,
no feebleness in effort, injured his work, no desire for money, no
faltering of aspiration, no pandering of his gift and genius to please
the world, no surrender of art for the sake of fame or filthy lucre, no
falseness to his ideal, no base pessimism, no slavery to science yet no
boastful ignorance of its good, no morbid naturalism, no devotion to the
false forms of beauty, no despair of man, no retreat from men into a
world of sickly or vain beauty, no abandonment of the great ideas or
disbelief in their mastery, no enfeeblement of reason such as at this
time walks hand in hand with the worship of the mere discursive
intellect, no lack of joy and healthy vigour and keen inquiry and
passionate interest in humanity. Scarcely any special bias can be found
running through his work; on the contrary, an incessant change of
subject and manner, combined with a strong but not overweening
individuality, raced, like blood through the body, through every vein of
his labour. Creative and therefore joyful, receptive and therefore
thoughtful, at one with humanity and therefore loving; aspiring to God
and believing in God, and therefore steeped to the lips in radiant Hope;
at one with the past, passionate with the present, and possessing by
faith an endless and glorious future--this was a life lived on the top
of the wave, and moving with its motion from youth to manhood, from
manhood to old age.
There is no need to mourn for his departure. Nothing feeble has been
done, nothing which lowers the note of his life, nothing we can regret
as less than his native strength. His last poem was like the last look
of the Phoenix to the sun before the sunlight lights the odorous pyre
from which the new-created Bird will spring. And as if the Muse of
Poetry wished to adorn the image of his death, he passed away amid a
world of beauty, and in the midst of a world endeared to him by love.
Italy was his second country. In Florence lies the wife of his heart. In
every city he had friends, friends not only among men and women, but
friends in every ancient wall, in every fold of Apennine and Alp, in
every breaking of the blue sea, in every forest of pines, in every
Church and Palace and Town Hall, in every painting that great art had
wrought, in every storied market place, in every great life which had
adorned, honoured and made romantic Italy; the great mother of Beauty,
at whose breasts have hung and whose milk have sucked all the arts and
all the literatures of modern Europe. Venice saw and mourned his death.
The sea and sky and mountain glory of the city he loved so well
encompassed him with her beauty; and their soft graciousness, their
temperate power of joy and life made his departure peaceful. Strong and
tender in life, his death added a new fairness to his life. Mankind is
fortunate to have so noble a memory, so full and excellent a work to
rest upon and love.
INDEX
OF PASSAGES RELATING TO THE POEMS
A
André del Sarto (A. de Musset)
Animal Studies
Arnold, Matthew
Art, Poems dealing with
Romantic Revival in
During the Renaissance
Art, Browning's Poetic,
Compared with that of Tennyson
Compared with that of Morris and Rossetti
In Abt Vogler
In the Grammarian's Funeral
In the Ring and the Book
Art, Browning's Theory of,
In Andrea del Sarto
In Pippa Passes
In Sordello
Aurora Leigh (E.B. Browning)
B
Balaustion's Adventures and Aristophanes' Apology,
Character of the Heroine
Contrast between Balaustion and Pompilia
Balaustion's Prologue
The Story of Alkestis
Representation of Aristophanes
Becket (Tennyson)
Boccaccio
Browning, Elizabeth Barrett
Poems relating to
Browning--
His relation to his Age
His artistic Development
His Art Poems
His Minor Characters
His Sense of Colour
His Composition
His Cosmopolitan Sympathies
As a Dramatist
As Poet of Humanity
His Imagination
The Influence of Shelley
Intellectual Analysis
His Love Poems
His Lyrical Poems
His Methods
His Treatment of Nature
His Obscurity
His Originality
His Treatment of the Renaissance
Romantic and Classic Elements in
His Spontaneity
His Style
Compared with Tennyson
His Theory of Life
His Wideness of Range
His Wit and Humour
Byron
C
Cain (Byron)
Carlyle
Cenci, The (Shelley)
Charles the First (Shelley)
Chaucer
Clough
Coleridge
Colour-sense in Browning
Cup, The (Tennyson)
D
Dante
Decameron (Boccaccio)
Dramas, The
Absence of Nature Pictures in
Defects in Browning's Dramatic Treatment
Dramas separately considered
Dramatic Poems
Duchess of Malfi (Webster)
E
English Scenery in Browning
F
Falcon, The (Tennyson)
Form in Poetry
French Revolution, its Influence in England
H
Hand and Soul (Rossetti)
Harold (Tennyson)
History, Imaginative Study of
Homer
Humanity, Browning's Treatment of
Humour, Browning's
Hunt, Holman
I
Imagination in Browning
Imaginative Representations
Definition of Term
Their Inception
Theological Studies
Renaissance Studies
Poems on Modern Italy
In Memoriam (Tennyson)
K
Keats
King Lear
L
Landscapes, Browning's
Later Poems
More intellectual than imaginative
Subjects generally founded on Fact
Show Sensitiveness to Criticism
Last Poems
Psychological Studies in
Lotos-Eaters, The (Tennyson)
Love Poetry,
What it is and when produced
Rare in Browning
Love Poems, The
Poems of Passion
Poems to Elizabeth Barrett Browning
Impersonal Poems
Poems embodying Phases of Love
Lyrical Element in Browning
M
Malory
Manfred (Byron)
Mariana in the South (Tennyson)
Maud (Tennyson)
Mazzini
Midsummer Night's Dream, A
Millais
Milton
Morris
Musset, Alfred de
N
Nature, Browning's Treatment of
Separate from and subordinate to Man
Joy in Nature
God and Nature
The Pathetic Fallacy
Illustrations drawn from Nature
Browning's view compared with that of other Poets
His Treatment illustrated in Saul
Faults in his Treatment
Nature Pictures
Later Indifference to Nature
New Age, The (Arnold)
Northern Farmer, The (Tennyson)
O
Oenone (Tennyson)
Originality, Browning's
P
Palace of Art, The (Tennyson)
Paracelsus
Nature-description in
Theory of Life in
Sketch of Argument
Passions, Poems of the Fiercer
Poems of the Romantic
Pathetic Fallacy, The
Pauline
Theory of Life in
Nature-description in
Mental Development of Hero
Character of Pauline
Petrarch
Pippa Passes
Nature-description in
Theory of Art in
Lyrics in
Studies of Women in
Plato
Poems, Passages relating to,
Abt Vogler
Adam, Lilith and Eve
After
Andrea del Sarto
Any Wife to any Husband
Aristophanes' Apology
Asolando
Balaustion's Adventure
Bean Stripe, A
Before
Bells and Pomegranates
Bifurcation
Bishop Blougram
Bishop orders his Tomb at St. Praxed's Church, The
Blot in the 'Scutcheon, A
By the Fireside
Caliban upon Setebos
Cavalier Tunes
Cenciaja
Charles Avison
Cherries
Childe Ronald
Christmas Eve
Cleon
Colombe's Birthday
Confessions
Count Gismond
Cristina
Cristina and Monaldeschi
Daniel Bartoli
Death in the Desert, A
De Gustibus
Dis Aliter Visum
Donald
Dramas, The
Strafford
King Victor and King Charles
The Return of the Druses
A Blot in the 'Scutcheon
Colombe's Birthday
Luria
A Soul's Tragedy
Pippa Passes
Dramatic Idylls
Dramatic Lyrics
Dramatic Romances
Dramatis Personæ
Easter Day
Echetlos
Englishman in Italy, The
Epilogue to Asolando, in
Epilogue to Ferishtah's Fancies
Epilogue to Pacchiarotto
Epistle of Karshish, An
Evelyn Hope
Fears and Scruples
Ferishtah's Fancies
Fifine at the Fair
Filippo Baldinucci
Flight of the Duchess, The
Flower's Name, The
Forgiveness, A
Fra Lippo Lippi
Francis Furini
Gerard de Lairesse
Glove, The
Gold Hair
Grammarian's Funeral, A
Halbert and Hob
Hervé Riel
Holy Cross Day
Home Thoughts from Abroad
Home Thoughts from the Sea
How it strikes a Contemporary
How they Brought the Good News from Ghent to Aix
In a Balcony
In a Gondola
Inn Album, The
Instans Tyrannus
In Three Days
Italian in England, The
Ivan Ivanovitch
Ixion
James Lee's Wife
Jochanan Hakkadosh
Jocoseria
Johannes Agricola in Meditation
King Victor and King Charles
Laboratory, The
Last Ride Together, The
Light Woman, A
Lost Mistress, The
Love Among the Ruins
Lovers' Quarrel, A
Luria
Meeting at Night--Parting at Morning
Men and Women
Mr. Sludge, the Medium
My Last Duchess
Natural Magic
Natural Theology on the Island
Ned Bratts
Never the Time and the Place
Now
Numpholeptos
Old Pictures in Florence
One Word More
Pacchiarotto
Pacchiarotto Prologue to
Pacchiarotto Epilogue to
Pan and Luna
Paracelsus
Parleyings with Certain People
Pauline
Pearl--A Girl, A
Pheidippides
Pictor Ignotus
Pied Piper of Hamelin, The
Pillar at Sebzevar, A
Pippa Passes
Pisgah Sights
Porphyria's Lover
Pretty Woman, A
Rabbi Ben Ezra
Red Cotton Nightcap Country
Return of the Druses, The
Rêverie
Rudel and the Lady of Tripoli
St. Martin's Summer
Saisiaz, La
Saul
Serenade at the Villa, A
Soliloquy of the Spanish Cloister, A
Solomon and Balkis
Sordello
Soul's Tragedy, A
Speculative
Strafford
Summum Bonum
Time's Revenges
Toccata of Galuppi's, A
Too Late
Transcendentalism
Two in the Campagna
Two Poets of Croisic
Up in a Villa--Down in the City
Waring
Worst of it, The
Youth and Art
Poet, Characteristics of a
Poetry
Grounds of Judgment on
Characteristics of Best
Form in
Matter in
Thought and Emotion in
Portraiture, Browning's Power of Minute
Prelude, The (Wordsworth)
Princess, The (Tennyson)
Promise of May, The (Tennyson)
Purgatorio, The (Dante)
Q
Queen Mary (Tennyson)
R
Racine
Realism in Browning
Religious Phases, Poems dealing with
Renaissance, The
Renaissance, Poems dealing with the
Renan
Revenge, The (Tennyson)
Ring and the Book, The
Nature-description in
Its Position among Browning's Works
Its Plan
Humour and Wit in
Partly intellectual, partly imaginative
Study of Renaissance in
Scenery and human Background
Browning's imaginative Method in
Minor Characters in
Principal Characters
Guido
Caponsacchi
Pompilia
The Pope
The Conclusion
Rizpah (Tennyson)
Robin Hood (Tennyson)
Romantic Spirit in Browning
Rossetti
Ruskin
S
St. Simeon Stylites (Tennyson)
Scott
Shakespeare
Shelley
Sir Galahad (Tennyson)
Sordello
Landscape in
The Temperament of the Hero
His artistic Development
The Argument
Historical Background to the Story
Nature Pictures
Portraiture
Illustrative Episodes
Analogy between Sordello and Browning
Theory of Art in
Theory of Life in
Character of the Heroine
Style in Browning
Swinburne
T
Tempest, The (Shakespeare)
Tennyson
Turner
Theory of Life, Browning's
Its main Features
In Pauline
In Paracelsus
In Easter Day
In Abt Vogler
In Andrea del Sarto
In Old Pictures in Florence
In Sordello
V
Vergil
Vita Nuova, La (Dante)
W
Will Waterproof's Monologue (Tennyson)
Womanhood, Studies of
In the Early Poems
Pauline
Lady Carlisle
Palma
In the Dramas, &c.
Ottima
Pippa
Anael
Mildred and Guendolen
Colombe
Constance
In the Dramatic Lyrics
Characteristics of Browning's Women
Poems to Mrs. Browning
Pompilia
Balaustion
Womanhood in the Modern Poets
Wordsworth