INDEX Abt Vogler, 125, 303, 351-357. 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 Austin, Alfred, compared with F. Thompson, 69. Bad Dreams, 166, 168. Bells and Pomegranates, meaning of title, 101. 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, Browning, Robert Barrett: death at Asolo, 8; my conversation 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. 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. Dramatis Personæ, 23, 25, 97. Eliot, George, Daniel Deronda and My Last Duchess, 172. Epistle, An, Containing Strange Medical Experience of Kar- 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 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, Garden Fancies, Sibrandus Schafnaburgensis, 255, 259-261. 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. Hallam, A. H., home in Wimpole Street, 10. Hawthorne, N., visits Browning in Florence, 23. 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, 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 Kipling, R., allusions to Browning in Stalky and Co., 195. Laboratory, The, 199-203. Landor, W. S., his poetic tribute to Browning, 68. Last Ride Together, The, 46, 141, 146-154. LeMoyne, Sarah Cowell, her reading aloud Meeting at Night, Lessing, G. E., his remark about truth, 148. Longfellow, H. W.: a better sonneteer than either Tennyson 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, Master Hugues of Saxe-Gotha, 351. Mill, J. S., his opinion of Pauline, 73. My Last Duchess, 101, 170-177, 186. Nationality in Drinks, 98. Old Pictures in Florence, 320-322. Omar Khayyam, his figure of the Potter compared with One Way of Love, 144, 145, 149. Pacchiarotto: 61; Epilogue to, 63, 70; Prologue to, 92. 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. Respectability, 161-163. Reverie, 297. Ring and the Book, The, 25, 37, 45, 59, 60, 62, 97, 116, 364. Rossetti, W. M., meets the Brownings and the Tennysons, 22. Ruskin, J., his remark on The Bishop Orders His Tomb, 193, Saul, 98, 298-320. Schiller, F.: his poem Der Handschuh, 246; his poem Das Schopenhauer, A.: father's financial help similar to Brown- Schumann, R. and Mrs., presentation to the Scandinavian Shakespeare, W., Browning declares him to be the supreme Sharp, W., characterization of Sordello, 66. Shelley, P. B.: his vegetarianism imitated by Browning, 27; Sibrandus Schafnaburgensis (see Garden Fancies). 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 Summum Bonum, 166, 168. Tennyson, A.: reading aloud from Maud, 22; Browning's letter Thackeray, Vanity Fair, 302. Thompson, F., his poetry compared with Austin's, 69. 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; Which, 290-293. Wister, O., criticism of Browning's poetry in his novel The Wordsworth, W.: served as model for The Lost Leader, 110; |