royalist, who had suggested the subject to Browning.
John Forster, who had just come up to London, wrote a careful and enthusiastic review of 'Paracelsus' in the 'Examiner,' and this led to his friendship with Browning. The press in general took no notice of this poem, but curiosity began to awaken among lovers of poetry. 'Paracelsus' introduced Browning to Carlyle, Talfourd, Landor, Home, Monckton Milnes, Barry Cornwall, Mary Mitford, Leigh Hunt, and eventually to Wordsworth and Dickens. About 1836 the Browning family moved from Camberwell to Hatcham, to a much larger and more convenient house, where the picturesque domestic life of the poet was developed. In November W. J. Fox asked him to dinner to meet Macready, who was already prepared to admire 'Paracelsus;' he entered in his famous diary 'The writer can scarcely fail to be a leading spirit of his time.' Browning saw the new year, 1836, in at Macready's house in Elstree, and met Forster for the first time in the coach on the way thither. Macready urged him to write for the stage, and in February Browning proposed a tragedy of 'Narses.' This came to nothing, but after the supper to celebrate the success of Talfourd's 'Ion' (26 May 1836), Macready said, 'Write a play, Browning, and keep me from going to America. What do you say to a drama on Strafford?' The play, however, was not completed for nearly another year. On 1 May 1837 'Strafford' was published and produced at Covent Garden Theatre. It was played by Macready and Helen Faucit, but it only ran for five nights. Vandenhoff, who had played the part of Pym with great indifference, cavalierly declined to act any more. For the next two or three years Browning lived very quietly at Hatcham, writing under the rose trees of the large garden, riding on 'York,' his horse, and steeping himself in all literature, modern and ancient, English and exotic. His labours gradually concentrated themselves on a long narrative poem, historical and philosophical, in which he recounted the entire life of a mediæval minstrel. He had become terrified at what he thought a tendency to diffuseness in his expression, and consequently 'Sordello' is the most tightly compressed and abstrusely dark of all his writings. He was partly aware himself of its excessive density ; the present writer (in 1875) saw him take up a copy of the first edition, and say, with a grimace, 'Ah! the entirely unintelligible "Sordello."' It was partly written in Italy, for which country Browning started at Easter, 1838. He went to Trieste in a merchant ship, to Venice, Asolo, the Euganean Hills, Padua, back to Venice; then by Verona and Salzburg to the Rhine, and so home. On the outward voyage he wrote 'How they brought the Good News from Ghent to Aix,' and many of his best lyrics belong to this summer of 1838. In 1839 he finished 'Sordello' and began the tragedies 'King Victor and King Charles' and 'Mansoor the Hierophant,' and formed the acquaintance of his father's old schoolfellow, John Kenyon [q. v.] In 1840 he composed a tragedy of 'Hippolytus and Aricia,' of which all that has been preserved is the prologue spoken by Artemis.
'Sordello' was published in 1840, and was received with mockery by the critics and with indifference by the public. Even those who had welcomed 'Paracelsus' most warmly looked askance at this congeries of mystifications, as it seemed to them. Browning was not in the least discouraged, although, as Mrs. Orr has said, 'he was now entering on a period of general neglect which covered nearly twenty years of his life.' The two tragedies were now completed, the title of 'Mansoor' being changed to 'The Return of the Druses.' Edward Moxon proposed to Browning that he should print his poems as pamphlets, each to form a separate brochure of just one sheet, sixteen pages in double columns, the entire cost of each not to exceed twelve or fifteen pounds. In this fashion were produced the series of 'Bells and Pomegranates,' eight numbers of which appeared successively between 1841 and 1846. Of the business relations between Browning and Moxon the poet gave the following relation in 1874, in a letter still unpublished, addressed to F. Locker Lampson: 'He [Moxon] printed, on nine occasions, nine poems of mine, wholly at my expense : that is, he printed them and, subtracting the very moderate returns, sent me in, duly, the bill of the remainder of expense. . . . Moxon was kind and civil, made no profit by me, I am sure, and never tried to help me to any, he would have assured you.'
'Pippa Passes' opened the series of 'Bells and Pomegranates' in 1841; No. ii. was 'King Victor and King Charles,' 1842; No. iii. 'Dramatic Lyrics,' 1842; No. iv. 'The Return of the Druses,' 1843 ; No. v. 'A Blot in the 'Scutcheon,' 1843; No. vi. 'Colombo's Birthday,' 1844; No. vii. 'Dramatic Romances and Lyrics,' 1845; and No. viii. 'Luria' and 'A Soul's Tragedy,' 1846. In a suppressed 'note of explanation' Browning stated that by the title 'Bells and Pomegranates' he meant 'to indicate an en-
