ballads, but rarely discoverable in those of modern date, and is noteworthy as being the earliest known specimen of Miss Barrett's use of the refrain, a metrical, euphonic adornment which Elizabeth Barrett, as well as her contemporary Edgar Poe, doubtless adopted from, or rather had suggested, to them by, Tennyson's resuscitation of it.
During May of this year, Miss Barrett formed the acquaintance of Mary Russell Mitford, whose friendship and advice had no little influence on her future literary career. Miss Mitford being up in London on a visit, was taken by her friend Kenyon sight-seeing; on the way they called at Gloucester Place, and, after much persuasion, induced Miss Barrett to go out with them. Miss Mitford described her as "a sweet young woman who reads Greek as I do French, and has published some translations from Æschylus, and some most striking poems. She is a delightful young creature, shy and timid and modest."
The day following Miss Mitford dined at Kenyon's, and there met several notabilities, including Wordsworth, described as "an adorable old man," Landor, "as splendid a person as Mr. Kenyon, but not so full of sweetness and sympathy," and chief of all, "the charming Miss Barrett," who, so Miss Mitford wrote home, "has translated the most difficult of the Greek plays—the Prometheus Bound—and written most exquisite poems in almost every style. She is so sweet and gentle, and so pretty, that one looks at her as if she were some bright flower." Again, Miss Mitford describes her as being at this time "of a slight, delicate figure, with a shower of dark curls falling on either side of a most expressive face, large tender eyes, richly fringed by dark eye-lashes, a smile like a sun-
