INDEX

Abt Vogler, 125, 303, 351-357.
Addison, J., disgust for the Alps, 266.
Andrea del Sarto, 206-216.

Another Way of Love, 99.

Apparent Failure, 360-363.

Artemis Prologizes, 101.

Asolando, Prologue and Epilogue, 368-373.

Asolo: Browning's visits to, its place in his work, 8; last
summer passed there, 26.

Austin, Alfred, compared with F. Thompson, 69.

Bad Dreams, 166, 168.

Bells and Pomegranates, meaning of title, 101.
Bishop Blougram's Apology, 46, 274.

Bishop Orders His Tomb, The, 193-199.

Blot in the 'Scutcheon, A, 7, 25, 83 169.

Boy and the Angel, The, 99.

Browning, Elizabeth Barrett: engagement, 8-10; her sonnets,
12; described by her son, 23; her ill health, 24; invented
name “Dramatic Lyric," 58; her assistance in R. Brown-
ing's poems, 97.
Browning, Robert: parentage and early life, 1-4;-education,
4-6; visit to Russia, 6; play-writing, 7; first visit to
Italy, 7; marriage, 8-12, travels in Italy and lives at
Paris, 22; domestic life in Florence described by Haw-
thorne, 23; death, 27; personal habits, 28; peculiarities,
29; piano-playing, 29, 30; enthusiasm, 30; friendship
with Tennyson, 31; normality in appearance, 32; excel-
lence in character, 32, 33; his theory of poetry, 34, ff;
his sonnets, 74, 75; his favorite feature the brow, 141,
142; fondness for yellow hair, 142; his "rejected lovers,"
143, ff.

Browning, Robert Barrett: death at Asolo, 8; my conversation
with, 23.

Bryant, W. C., visits Browning, 23.

Byron, Lord, lyrical power, 71.

By the Fireside, 141.

Caliban on Setebos, 326-339.

Campion, T., his lyrical power compared with Donne's, 72,

Carlyle, T.: travels to Paris with the Brownings, 22; his

smoking, 28.

Cavalier Tunes, 110-114.

Charles Avison, 351.

"Childe Roland," 22, 231-244, 302.

Choate, J. H., his remark on old age, 340.

Christmas-Eve, 25, 44, 52, 97, 98, 298.

Cleon, 148, 216, 220-222.

Clive, 287-289.

Confessions, 163-165.

Count Gismond, 100, 120, 142, 177-183.
Cristina, 115-127.

Death in the Desert, A, 125, 163, 298, 326.

De Gustibus, 267, 268.

Dis Aliter Visum, 120.

Donne, J.: compared with Browning, 69; compared with

Campion, 72.

Dramatic Lyric, origin of name, 58.
Dramatic Lyrics, 37, 98, 99, 100, 101.
Dramatic Romances, 97, 98, 100, 101.

Dramatis Personæ, 23, 25, 97.

Eliot, George, Daniel Deronda and My Last Duchess, 172.
Emerson, R. W.: pie and optimism, 28; his opinion of Tenny-
son's Ulysses, 99, 100.

Epistle, An, Containing Strange Medical Experience of Kar-
shish, 216-219, 222-231.

Eurydice, 142.

Evelyn Hope, 47, 120, 124, 130-132, 141, 142.

"Eyes Calm Beside Thee," 75.

Face, A, 87.

Fano: seldom visited, 322; scene of picture of Guardian
Angel, 322.

Fifine at the Fair: 29; Epilogue to, 88-90.

Forster, J., his praise of Paracelsus, 7.

Fra Lippo Lippi, 22, 203-206.

Fulda, L., his play Schlaraffenland compared with Rephan,
363.

Garden Fancies, Sibrandus Schafnaburgensis, 255, 259-261.
Glove, The, 47, 246-255, 357.

Goethe, doctrine of elective affinities, 116-118.

Gold Hair, 142, 298.

Grammarian's Funeral, A, 256-259, 262-266.

Gray, T., early appreciation of mountain scenery, 267.
Guardian Angel, The, 322-326.

Hallam, A. H., home in Wimpole Street, 10.

Hawthorne, N., visits Browning in Florence, 23.
Holy Cross Day, 46.

Home-Thoughts, from Abroad, 83-86, 100.

Home-Thoughts, from the Sea, 83-86.

How It Strikes a Contemporary, 50, 54.

"How They Brought the Good News," 101, 139, 189-193.

Ibsen, H.: an original genius, 36, 37; When We Dead Awaken,
148; A Doll's House, 292.

James Lee's Wife, 67, 86.

Jocoseria, Prologue to, 94.

Johannes Agricola in Meditation, 103, 107-110.

Jonson, B., his remarks on Donne, 69.

Karshish (see Epistle, An).

Keats, J.: prosody in Endymion, 41, 171; Bright Star, 71; his
conception of beauty, 167; preface to Endymion, 295;
his doctrine of beauty, 324.

Kipling, R., allusions to Browning in Stalky and Co., 195.

Laboratory, The, 199-203.

Landor, W. S., his poetic tribute to Browning, 68.
Lanier, S., his criticism of The Ring and the Book, 37.
La Saisiaz, Prologue to, 93.

Last Ride Together, The, 46, 141, 146-154.

LeMoyne, Sarah Cowell, her reading aloud Meeting at Night,
133, 134.

Lessing, G. E., his remark about truth, 148.

Longfellow, H. W.: a better sonneteer than either Tennyson
or Browning, 74; Paul Revere's Ride compared with
"How They Brought," etc., 189.

Lost Leader, The, 100, 110, 114, 144.

Lost Mistress, The, 144, 149.

Love Among the Ruins, 42, 46, 142, 156-161.

Lover's Quarrel, A, 99.

Luria, 70, 97.

Macbeth: German translation of, 47; pessimistic speech by,

102, 103.

Macready, W. C., relations with Browning, 7.

Maeterlinck, M.: scene in Monna Vanna taken from Luria,
70; his praise of Browning's poetry, 70.

Master Hugues of Saxe-Gotha, 351.
Meeting at Night, 59, 132-140.
Men and Women, 22, 25, 96, 97, 98, 99.
Mesmerism, 99.

Mill, J. S., his opinion of Pauline, 73.
Muléykeh, 289, 290.

My Last Duchess, 101, 170-177, 186.
My Star, 165, 167.

Nationality in Drinks, 98.

Old Pictures in Florence, 320-322.

Omar Khayyam, his figure of the Potter compared with
Browning's, 342.

One Way of Love, 144, 145, 149.
One Word More, 13, 14, 15-21.

Pacchiarotto: 61; Epilogue to, 63, 70; Prologue to, 92.
Paracelsus, 7, 25, 76-79, 123, 128-130.

Parting at Morning (see Meeting at Night).

Pauline, 6, 24, 25, 37, 42, 47, 73, 84, 294, 296.

Pippa Passes, 8, 25, 61, 67, 80-83, 102, 135.-

Pope: popularity of Essay on Man, 34; his prosody compared

with that of Keats, 171.

Porphyria's Lover, 103-107.

Prince Hohenstiel-Schwangau, 96.

Prospice, 357-360.

Rabbi Ben Ezra, 62, 122, 326, 339-351.
Rephan, 363-368.

Respectability, 161-163.

Reverie, 297.

Ring and the Book, The, 25, 37, 45, 59, 60, 62, 97, 116, 364.
Rossetti, D. G.: draws picture of Tennyson, 22; his opinion of
Pauline, 73, 74.

Rossetti, W. M., meets the Brownings and the Tennysons, 22.
Rudel to the Lady of Tripoli, 101.

Ruskin, J., his remark on The Bishop Orders His Tomb, 193,
194.

Saul, 98, 298-320.

Schiller, F.: his poem Der Handschuh, 246; his poem Das
Ideal und das Leben, 341.

Schopenhauer, A.: father's financial help similar to Brown-
ing's, 3; his late-coming fame similar to Browning's, 24;
his remark on Rafael's St. Cecilia, 208.

Schumann, R. and Mrs., presentation to the Scandinavian
king, 26.

Shakespeare, W., Browning declares him to be the supreme
poet, 44.

Sharp, W., characterization of Sordello, 66.

Shelley, P. B.: his vegetarianism imitated by Browning, 27;
his lyrical power, 71.

Sibrandus Schafnaburgensis (see Garden Fancies).
Sludge (Mr.) the Medium, 46, 133.

Soliloquy of the Spanish Cloister, 183-189.

Soul's Tragedy, 4, 97, 98.

Sordello, 8, 66, 67.

Statue and the Bust, The, 120, 141, 142, 272-285.

Stedman (mother of the poet, E. C.), her remarks on the
health of Mrs. Browning in Florence, 24.

Summum Bonum, 166, 168.

Tennyson, A.: reading aloud from Maud, 22; Browning's letter
to him, 31; a genius for adaptation, 36; wrote to please
critics, 39; compared with Browning, 65; his lyrical
power, 71; his lyrics compared with Browning's 72;
wrote no good sonnets, 74; Lotos-Eaters, 76; Ulysses,
99; Crossing the Bar, 102; St. Agnes' Eve compared
with Johannes Agricola, 110; Locksley Hall, 119; his
"rejected lovers" compared with Browning's, 143; his
criticism of The Laboratory, 200; Crossing the Bar
compared with Epilogue to Asolando, 372.

Thackeray, Vanity Fair, 302.

Thompson, F., his poetry compared with Austin's, 69.
Time's Revenges, 143.

Toccata of Galuppi's, A, 142, 351.

Transcendentalism, 48, 52, 115.

Twins, The, 61, 62.

Two Poets of Croisic, the Epilogue to, 91.

Up at a Villa-Down in the City, 266-272.

Wagner, R.: his originality, 36, 37; his slow-coming fame, 40;
his operas, 64.

Which, 290-293.

Wister, O., criticism of Browning's poetry in his novel The
Virginian, 135, 138, 139, 191.

Wordsworth, W.: served as model for The Lost Leader, 110;
his sincere love of the country, 267.