INDEX

OF PASSAGES RELATING TO THE POEMS

A B C D E F H I K L M N O P Q R S T V W

A

André del Sarto (A. de Musset), 312

Animal Studies, 83-85, 277

Arnold, Matthew, 2, 6, 11

Art, Poems dealing with, 20-21, 141-176, 301-317

Romantic Revival in, 161-164

During the Renaissance, 302-321

Art, Browning's Poetic,

Compared with that of Tennyson, 38-56

Compared with that of Morris and Rossetti, 141-143

In Abt Vogler, 150-153

In the Grammarian's Funeral, 153-155

In the Ring and the Book, 391-393

Art, Browning's Theory of,

In Andrea del Sarto, 156-159, 310-313

In Pippa Passes, 164-167

In Sordello, 167-176, 203-211

Aurora Leigh (E.B. Browning), 345

B

Balaustion's Adventures and Aristophanes' Apology,

Character of the Heroine, 365, 369-372, 377, 384-390

Contrast between Balaustion and Pompilia, 370-371

Balaustion's Prologue, 365-369

The Story of Alkestis, 372-382

Representation of Aristophanes, 383-384

Becket (Tennyson), 223, 225

Boccaccio, 181-182

Browning, Elizabeth Barrett, 2, 245

Poems relating to, 249-251, 403-404

Browning—

His relation to his Age, 1-3, 5, 6, 9, 11-12, 14-15, 21, 30, 201-202

His artistic Development, 202-208, 210-211, 244, 329-330, 393-397, 422, 429, 435-438

His Art Poems, 20-21, 141-176, 301-317

His Minor Characters, 193-195, 231, 391-392, 404-405

His Sense of Colour, 80-82, 88

His Composition, 48

His Cosmopolitan Sympathies, 26-36, 359, 415

As a Dramatist, 219-241, 325

As Poet of Humanity, 44-45, 68-69, 79, 106, 115, 218, 249, 348, 402, 433

His Imagination, 20-21, 148, 282-286, 289, 297, 305, 334, 403, 413, 415, 432, 438

The Influence of Shelley, 92

Intellectual Analysis, 11-14, 42, 45-46, 107, 143, 144, 231, 244-245, 325, 393-398, 411, 414-425, 435, 438

His Love Poems, 242-263, 403-404

His Lyrical Poems, 241, 245, 246-249, 253, 336, 348-349, 435

His Methods, 10, 37-38, 82, 150-153, 187-199, 304-305, 325-326, 332-333, 402-403, 418-420

His Treatment of Nature, 57-114

His Obscurity, 50, 94, 198-199, 417

His Originality, 21-24, 49, 91, 115, 276, 416

His Treatment of the Renaissance, 301-304, 307, 310-311, 313

Romantic and Classic Elements in, 212-218, 270-279

His Spontaneity, 16-17, 92, 413

His Style, 31-33, 49-55, 94, 121, 210-211, 213, 432

Compared with Tennyson, 1-56, 58, 60-62, 66, 92, 106, 171, 220-226, 280, 281, 323, 345-346, 348, 354, 428

His Theory of Life, 12-17, 106, 110-112, 115-140, 150, 203-208, 217, 262-263, 428-429, 436, 438, 439-440

His Wideness of Range, 6, 16, 44, 284, 346

His Wit and Humour, 32, 240, 265-266, 296, 324, 373, 396, 405, 412

Byron, 34-35, 68, 93, 221, 223, 344

C

Cain (Byron), 221

Carlyle, 51, 195, 397

Cenci, The (Shelley), 222

Charles the First (Shelley), 222

Chaucer, 219-220

Clough, 2

Coleridge, 35, 62, 68, 93, 104, 221, 344

Colour-sense in Browning, 80-82, 88

Cup, The (Tennyson), 224, 225

D

Dante, 43, 50, 181, 182, 217

Decameron (Boccaccio), 181

Dramas, The, 219-241

Absence of Nature Pictures in, 104

Defects in Browning's Dramatic Treatment, 219-221, 222, 224, 229, 325

Dramas separately considered, 225-41

Dramatic Poems, 242

Duchess of Malfi (Webster), 270

E

English Scenery in Browning, 27-28, 108

F

Falcon, The (Tennyson), 224

Form in Poetry, 47

French Revolution, its Influence in England, 35-6

H

Hand and Soul (Rossetti), 143

Harold (Tennyson), 220, 223

History, Imaginative Study of, 18-20

Homer, 43, 50, 211

Humanity, Browning's Treatment of, 44, 45, 68-69, 79, 106, 115, 218, 249, 348, 402, 433

Humour, Browning's, 32, 240, 265-266, 296, 373, 396, 405, 412

Hunt, Holman, 163

I

Imagination in Browning, 20-21, 148, 282-286, 289, 297, 305, 334, 413, 415, 432

Imaginative Representations, 280-322

Definition of Term, 280-284

Their Inception, 285-286

Theological Studies, 286-300

Renaissance Studies, 301-322

Poems on Modern Italy, 322

In Memoriam (Tennyson), 4, 5, 15, 285

K

Keats, 26, 35, 68, 90, 345

King Lear, 275

L

Landscapes, Browning's, 74-80, 87

Later Poems, 414-430

More intellectual than imaginative, 414, 416, 417, 418-422, 425

Subjects generally founded on Fact, 417

Show Sensitiveness to Criticism, 426

Last Poems, 431-440

Psychological Studies in, 432-434

Lotos-Eaters, The (Tennyson), 87

Love Poetry,

What it is and when produced, 242-244

Rare in Browning, 245-246, 249, 347

Love Poems, The

Poems of Passion, 246-247, 261

Poems to Elizabeth Barrett Browning, 63, 245, 249-251, 403-404

Impersonal Poems, 252-260

Poems embodying Phases of Love, 261-262

Lyrical Element in Browning, 241, 245, 246-249, 253, 336, 348-349, 435

M

Malory, 212

Manfred (Byron), 221

Mariana in the South (Tennyson), 28

Maud (Tennyson), 2

Mazzini, 322

Midsummer Night's Dream, A, 63, 68

Millais, 163

Milton, 211

Morris, 2, 8, 11, 142

Musset, Alfred de, 312

N

Nature, Browning's Treatment of, 57-114

Separate from and subordinate to Man, 60, 86, 97, 101-102

Joy in Nature, 66-72, 74, 86

God and Nature, 62, 72, 99, 111-12, 136

The Pathetic Fallacy, 60, 66-67, 75, 87

Illustrations drawn from Nature, 70-72

Browning's view compared with that of other Poets, 25, 27-28, 57, 58, 62, 65, 66, 68, 75, 94, 104

His Treatment illustrated in Saul, 85, 87

Faults in his Treatment, 93, 95, 96, 98, 103

Nature Pictures, 75, 77, 82, 85-87, 93-96, 107, 108, 190-193, 277, 297, 386

Later Indifference to Nature, 105-107, 109-114

New Age, The (Arnold), 11

Northern Farmer, The (Tennyson), 280

O

Oenone (Tennyson), 87

Originality, Browning's, 21-24, 49, 91, 115, 276

P

Palace of Art, The (Tennyson), 124, 170

Paracelsus, 3, 8, 9, 14, 15, 26, 55, 62, 79, 190, 199, 210, 217, 226, 240, 244, 263, 326, 348, 428

Nature-description in, 67, 83, 84, 96-101

Theory of Life in, 115-116, 202

Sketch of Argument, 127-140

Passions, Poems of the Fiercer, 264-270

Poems of the Romantic, 270-279

Pathetic Fallacy, The, 60, 66-67, 75, 87

Pauline, 21, 28, 79, 87, 88, 104, 190, 244

Theory of Life in, 15, 115, 116, 120-121

Nature-description in, 90-96

Mental Development of Hero, 120-126

Character of Pauline, 323-325

Petrarch, 181, 182

Pippa Passes, 4, 9, 195, 225, 240-241, 268-270

Nature-description in, 30, 77-78, 80

Theory of Art in, 164-167

Lyrics in, 273-274

Studies of Women in, 331-336

Plato, 216

Poems, Passages relating to,

Abt Vogler, 21, 55, 119, 141, 149-153, 271

Adam, Lilith and Eve, 355

After, 266

Andrea del Sarto, 21, 141, 155-159, 310-313

Any Wife to any Husband, 352-353

Aristophanes' Apology, 20, 73, 371-372, 382-390, 415

Asolando, 3, 109-112, 115, 245-248, 439-440

Balaustion's Adventure, 20, 365-390, 415

Bean Stripe, A, 71

Before, 266-267

Bells and Pomegranates, 4, 8, 26

Bifurcation, 256, 427

Bishop Blougram, 21, 281, 394, 397, 417, 420

Bishop orders his Tomb at St. Praxed's Church, The, 20, 302, 313

Blot in the 'Scutcheon, A, 4, 231-235, 338-339

By the Fireside, 63, 69, 79, 104, 243-245, 247, 249-250

Caliban upon Setebos, 21, 83, 280, 283, 284, 286-290

Cavalier Tunes, 28

Cenciaja, 427

Charles Avison, 435, 436

Cherries, 435

Childe Ronald, 66, 87, 271, 274-276

Christmas Eve, 21, 75-76, 214

Cleon, 20, 280, 284, 290-295

Colombe's Birthday, 226, 235-236, 339-340

Confessions, 259

Count Gismond, 261

Cristina, 255, 349

Cristina and Monaldeschi, 270

Daniel Bartoli, 436

Death in the Desert, A, 3, 21, 30, 283, 296

De Gustibus, 26

Dis Aliter Visum, 256, 349-351

Donald, 433

Dramas, The, 219-241

Strafford, 4, 26, 101, 220, 222, 226-228, 326

King Victor and King Charles, 228-230, 336

The Return of the Druses, 230-231, 336-338

A Blot in the 'Scutcheon, 4, 231-235, 338-339

Colombe's Birthday, 226, 235-236, 339-340

Luria, 236-238, 343

A Soul's Tragedy, 225, 238-240, 243

Pippa Passes, 4, 9, 30, 77-78, 80, 164-167, 195, 225, 240-241, 268-270, 273-274, 331-336

Dramatic Idylls, 109, 431-434, 436-437

Dramatic Lyrics, 242, 344-359, 433

Dramatic Romances, 242

Dramatis Personæ, 5, 242

Easter Day, 21, 33, 126, 141, 145-148

Echetlos, 431

Englishman in Italy, The, 27, 65, 82

Epilogue to Asolando, in, 439-40

Epilogue to Ferishtah's Fancies, 439

Epilogue to Pacchiarotto, 426, 437

Epistle of Karshish, An, 55, 83, 280, 285, 296-300, 428

Evelyn Hope, 255, 357

Fears and Scruples, 427

Ferishtah's Fancies, 109, 248, 434-435, 439

Fifine at the Fair, 60, 77, 106, 107, 240-241, 333, 415-417, 419, 422-425

Filippo Baldinucci, 34, 425

Flight of the Duchess, The, 78, 271, 274, 276-279, 357-358

Flower's Name, The, 258, 357

Forgiveness, A, 267-268, 427

Fra Lippo Lippi, 21, 280, 282, 283, 285, 302, 304-310

Francis Furini, 30, 435

Gerard de Lairesse, 87-89, 109, 435-436

Glove, The, 262

Gold Hair, 355

Grammarian's Funeral, A, 20, 78, 120, 141, 153-155, 317, 319-321

Halbert and Hob, 433

Hervé Riel, 29, 415

Holy Cross Day, 34

Home Thoughts from Abroad, 10, 27-28

Home Thoughts from the Sea, 29-30

How it strikes a Contemporary, 315-317

How they Brought the Good News from Ghent to Aix, 28

In a Balcony, 221, 225, 236, 254, 340-343

In a Gondola, 257

Inn Album, The, 107, 108, 332, 395, 417, 415, 419, 427

Instans Tyrannus, 265

In Three Days, 253

Italian in England, The, 322, 357

Ivan Ivanovitch, 432-433

Ixion, 434

James Lee's Wife, 60, 79-81, 256, 351-352

Jochanan Hakkadosh, 34, 434

Jocoseria, 109, 433, 434

Johannes Agricola in Meditation, 317-319

King Victor and King Charles, 228-230, 336

Laboratory, The, 10, 20, 265, 356

Last Ride Together, The, 245

Light Woman, A, 355

Lost Mistress, The, 256

Love Among the Ruins, 77, 252-3

Lovers' Quarrel, A, 69, 82, 257-8

Luria, 236-238, 343

Meeting at Night—Parting at Morning, 258-259

Men and Women, 5, 242

Mr. Sludge, the Medium, 281, 394, 417, 420-421

My Last Duchess, 4, 10, 317

Natural Magic, 427

Natural Theology on the Island, 21, 83, 280, 283, 284, 286-290

Ned Bratts, 433

Never the Time and the Place, 261, 434

Now, 246

Numpholeptos, 425

Old Pictures in Florence, 76, 141, 159-163

One Word More, 250

Pacchiarotto, 108, 425-427, 437

Pacchiarotto Prologue to, 108, 427

Pacchiarotto Epilogue to, 437

Pan and Luna, 431-432

Paracelsus, 3, 8, 9, 14, 15, 26, 55, 62, 67, 79, 83, 84, 96-101, 115-116, 127-140, 164, 190, 199, 202, 210, 217, 226, 240, 244,263, 271-272, 326, 348, 428

Parleyings with Certain People, 3, 87, 434, 435-436, 439

Pauline, 15, 21, 28, 79, 87, 88, 90-96, 104, 115, 116, 120-127, 244, 323-326

Pearl—A Girl, A, 246-247

Pheidippides, 431

Pictor Ignotus, 313-315

Pied Piper of Hamelin, The, 4, 262

Pillar at Sebzevar, A, 435

Pippa Passes, 4, 9, 30, 77-78, 80, 164-167, 195, 225, 240-241, 268-270, 273-274, 331-336

Pisgah Sights, 427

Porphyria's Lover, 10, 326-327

Pretty Woman, A, 355

Rabbi Ben Ezra, 34, 148-149

Red Cotton Nightcap Country, 332, 395, 415, 417, 419, 426

Return of the Druses, The, 230-231, 336-338

Rêverie, 111

Rudel and the Lady of Tripoli, 274

St. Martin's Summer, 260, 427

Saisiaz, La, 59, 109, 429-430

Saul, 4, 85-87

Serenade at the Villa, A, 260

Soliloquy of the Spanish Cloister, A, 20, 266

Solomon and Balkis, 355

Sordello, 4, 8, 9, 10, 20, 26, 44, 70-71, 87, 88, 101-106, 122, 167-176, 177-199, 200-218, 240, 282, 301, 327-331, 333, 348, 399

Soul's Tragedy, A, 225, 238-240, 343

Speculative, 246-247

Strafford, 4, 26, 101, 220, 222, 226-228, 326

Summum Bonum, 246-247

Time's Revenges, 355-356

Toccata of Galuppi's, A, 21, 321-322

Too Late, 256, 355

Transcendentalism, 144-145

Two in the Campagna, 77, 254

Two Poets of Croisic, 427-429

Up in a Villa—Down in the City, 83, 322

Waring, 4, 10

Worst of it, The, 355

Youth and Art, 256

Poet, Characteristics of a, 316-317, 437-438

Poetry

Grounds of Judgment on, 39-42

Characteristics of Best, 41-43, 47, 53

Form in, 47, 53-56

Matter in, 47

Thought and Emotion in, 47

Portraiture, Browning's Power of Minute, 193-195, 383-384, 404-405

Prelude, The (Wordsworth), 124

Princess, The (Tennyson), 2, 3, 348

Promise of May, The (Tennyson), 224

Purgatorio, The (Dante), 217

Q

Queen Mary (Tennyson), 223

R

Racine, 373-374

Realism in Browning, 18-20, 331-333

Religious Phases, Poems dealing with, 21, 284-300

Renaissance, The, 182, 301-304, 307, 310-311, 313, 317-320

Renaissance, Poems dealing with the, 305-322, 399

Renan, 287

Revenge, The (Tennyson), 29

Ring and the Book, The

Nature-description in, 105-106

Its Position among Browning's Works, 391-392, 395-396

Its Plan, 392-393, 398-399

Humour and Wit in, 396, 405, 412

Partly intellectual, partly imaginative, 393-398, 413

Study of Renaissance in, 399

Scenery and human Background, 348, 400-402

Browning's imaginative Method in, 403

Minor Characters in, 404-405

Principal Characters

Guido, 264, 406-407

Caponsacchi, 406-409

Pompilia, 359-364, 369-371, 408-410

The Pope, 410-411

The Conclusion, 412-413

Rizpah (Tennyson), 280

Robin Hood (Tennyson), 224

Romantic Spirit in Browning, 212-218, 270-279

Rossetti, 2, 6, 11, 142, 143, 163

Ruskin, 60, 80, 302

S

St. Simeon Stylites (Tennyson), 318

Scott, 80, 221, 223

Shakespeare, 34, 43, 50, 52, 220, 223, 287, 288-289

Shelley, 22, 35, 68, 74, 90, 92, 93, 94, 221-222, 344-345

Sir Galahad (Tennyson), 318

Sordello, 4, 8, 9, 10, 20, 26, 44, 70-71, 87, 88, 122, 167, 213, 240-241, 282, 301, 333, 348, 399

Landscape in, 101-106

The Temperament of the Hero, 163-171, 183-187

His artistic Development, 171-176

The Argument, 171-179

Historical Background to the Story, 177, 183, 187-190

Nature Pictures, 190-193

Portraiture, 193-195

Illustrative Episodes, 196-198

Analogy between Sordello and Browning, 200-205, 208, 211

Theory of Art in, 167-176, 203-211

Theory of Life in, 203-208, 216-217

Character of the Heroine, 327-331

Style in Browning, 31-33, 49-55, 94, 121, 210-211, 213, 432

Swinburne, 2, 11

T

Tempest, The (Shakespeare), 63, 284, 287-289

Tennyson, 1-56, 58, 60, 61, 66, 68, 74, 80, 92, 98, 104, 106, 124, 170-171, 211-212, 220-221, 222-225, 280, 318, 323, 345-346, 348

Turner, 104, 162

Theory of Life, Browning's, 109-112, 428, 436

Its main Features, 116-120, 121, 131, 158-159, 203, 217, 249, 262-263, 438-440

In Pauline, 120-127

In Paracelsus, 127-140, 202

In Easter Day, 145-148

In Abt Vogler, 149-150

In Andrea del Sarto, 155, 157-159

In Old Pictures in Florence, 160-161

In Sordello, 203-208, 217

V

Vergil, 43, 211, 216

Vita Nuova, La (Dante), 181

W

Will Waterproof's Monologue (Tennyson), 32

Womanhood, Studies of

In the Early Poems, 323-327

Pauline, 323-325

Lady Carlisle, 326

Palma, 327-330

In the Dramas, &c., 327-343

Ottima, 331-332

Pippa, 334-336

Anael, 336-338

Mildred and Guendolen, 338-339

Colombe, 339-340

Constance, 340-343

In the Dramatic Lyrics, 344-359

Characteristics of Browning's Women, 346-349

Poems to Mrs. Browning, 249-251, 358, 403-404

Pompilia, 359-364, 370-371

Balaustion, 365-390

Womanhood in the Modern Poets, 344-346

Wordsworth, 35, 57, 58, 59, 65, 68, 75, 93-94, 124, 162-163, 221, 223, 245, 344