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The Poetical Works of Robert Browning

Browning, Robert (1812-1889)

collapse sectionI. 
VOL. I.
  
[dedication]
  
PAULINE;
  
SORDELLO.
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VOL. II.
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PARACELSUS.
 I. 
PART I. PARACELSUS ASPIRES.
 II. 
PART II. PARACELSUS ATTAINS.
 III. 
PART III. PARACELSUS.
 IV. 
PART IV. PARACELSUS ASPIRES.
 V. 
PART V. PARACELSUS ATTAINS.
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STRAFFORD;
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ACT I.
 I. 
Scene I.
 II. 
Scene II.
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ACT II.
 I. 
Scene I.
 II. 
Scene II.
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ACT III.
 I. 
Scene I.
 II. 
Scene II.
 III. 
Scene III.
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ACT IV.
 I. 
Scene I.
 II. 
Scene II.
 III. 
Scene III.
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ACT V.
 I. 
Scene I.
 II. 
Scene II.
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VOL. III.
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PIPPA PASSES;
  
[dedication]
  
[castlist]
  
INTRODUCTION.
 I. 
PART I. MORNING.
 II. 
PART II. NOON.
 III. 
PART III. EVENING.
 IV. 
PART IV. NIGHT.
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KING VICTOR & KING CHARLES;
  
[castlist]
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FIRST YEAR, 1730.—KING VICTOR.
 I. 
Part I.
 II. 
Part II.
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SECOND YEAR, 1731.—KING CHARLES.
 I. 
Part I.
 II. 
Part II.
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THE RETURN OF THE DRUSES
  
[castlist]
 I. 
ACT I.
 II. 
ACT II.
 III. 
ACT III.
 IV. 
ACT IV.
 V. 
ACT V.
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A SOUL'S TRAGEDY.
  
[castlist]
 I. 
ACT I.
 II. 
ACT II.
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VOL. IV.
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A BLOT IN THE 'SCUTCHEON;
  
[castlist]
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ACT I.
 I. 
Scene I.
 II. 
Scene II.
 III. 
Scene III.
 II. 
ACT II.
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ACT III.
 I. 
Scene I.
 II. 
Scene II.
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COLOMBE'S BIRTHDAY;
  
[castlist]
 I. 
ACT I. MORNING.
 II. 
ACT II. NOON.
 III. 
ACT III. AFTERNOON.
 IV. 
ACT IV. EVENING.
 V. 
ACT V. NIGHT.
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MEN AND WOMEN.
  
“TRANSCENDENTALISM: A POEM IN TWELVE BOOKS.”
  
HOW IT STRIKES A CONTEMPORARY.
  
ARTEMIS PROLOGIZES.
  
AN EPISTLE
  
JOHANNES AGRICOLA IN MEDITATION.
  
PICTOR IGNOTUS.
  
FRA LIPPO LIPPI.
  
ANDREA DEL SARTO.
  
THE BISHOP ORDERS HIS TOMB AT SAINT PRAXED'S CHURCH.
  
BISHOP BLOUGRAM'S APOLOGY.
  
CLEON.
  
RUDEL TO THE LADY OF TRIPOLI.
  
ONE WORD MORE
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VOL. V.
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DRAMATIC ROMANCES.
  
INCIDENT OF THE FRENCH CAMP.
  
THE PATRIOT.
  
MY LAST DUCHESS.
  
COUNT GISMOND.
  
THE BOY AND THE ANGEL.
  
INSTANS TYRANNUS.
  
MESMERISM.
  
THE GLOVE.
  
TIME'S REVENGES.
  
THE ITALIAN IN ENGLAND
  
THE ENGLISHMAN IN ITALY.
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IN A GONDOLA.
  
He sings.
  
She speaks.
  
He sings.
  
She sings.
  
He sings.
  
He muses.
  
He speaks, musing.
  
Still he muses
  
She replies, musing.
  
He speaks.
  
She speaks.
  
[section]
  
[section]
  
[section]
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WARING.
 I. 
I.
 II. 
II.
  
THE TWINS.
  
A LIGHT WOMAN.
  
THE LAST RIDE TOGETHER.
  
THE PIED PIPER OF HAMELIN;
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THE FLIGHT OF THE DUCHESS.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII.
  
A GRAMMARIAN'S FUNERAL,
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THE HERETIC'S TRAGEDY.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X
  
HOLY-CROSS DAY.
  
PROTUS.
  
THE STATUE AND THE BUST.
  
PORPHYRIA'S LOVER
  
“CHILDE ROLAND TO THE DARK TOWER CAME.”
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CHRISTMAS-EVE AND EASTER-DAY.
  
CHRISTMAS EVE.
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EASTER-DAY.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII.
 XVIII. 
XVIII.
 XIX. 
XIX.
 XX. 
XX.
 XXI. 
XXI.
 XXII. 
XXII.
 XXIII. 
XXIII.
 XXIV. 
XXIV.
 XXV. 
XXV.
 XXVI. 
XXVI.
 XXVII. 
XXVII.
 XXVIII. 
XXVIII.
 XXIX. 
XXIX.
 XXX. 
XXX.
 XXXI. 
XXXI.
 XXXII. 
XXXII.
 XXXIII. 
XXXIII.
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VOL. VI.
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DRAMATIC LYRICS.
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CAVALIER TUNES.
 I. 
I. MARCHING ALONG.
 II. 
II. GIVE A ROUSE.
 III. 
III. BOOT AND SADDLE.
  
THE LOST LEADER.
  
“HOW THEY BROUGHT THE GOOD NEWS FROM GHENT TO AIX.”
  
THROUGH THE METIDJA TO ABD-EL-KADR.
  
NATIONALITY IN DRINKS.
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GARDEN FANCIES.
 I. 
I. THE FLOWER'S NAME.
 II. 
II. SIBRANDUS SCHAFNABURGENSIS.
  
SOLILOQUY OF THE SPANISH CLOISTER.
  
THE LABORATORY.
  
THE CONFESSIONAL
  
CRISTINA.
  
THE LOST MISTRESS.
  
EARTH'S IMMORTALITIES.
  
MEETING AT NIGHT.
  
PARTING AT MORNING.
  
SONG.
  
A WOMAN'S LAST WORD.
  
EVELYN HOPE.
  
LOVE AMONG THE RUINS.
  
A LOVERS' QUARREL.
  
UP AT A VILLA—DOWN IN THE CITY.
  
A TOCCATA OF GALUPPI'S.
  
OLD PICTURES IN FLORENCE
  
“DE GUSTIBUS------”
  
HOME-THOUGHTS, FROM ABROAD.
  
HOME-THOUGHTS, FROM THE SEA.
  
SAUL.
  
MY STAR.
  
BY THE FIRE-SIDE.
  
ANY WIFE TO ANY HUSBAND.
  
TWO IN THE CAMPAGNA.
  
MISCONCEPTIONS.
  
A SERENADE AT THE VILLA.
  
ONE WAY OF LOVE.
  
ANOTHER WAY OF LOVE.
  
A PRETTY WOMAN.
  
RESPECTABILITY.
  
LOVE IN A LIFE.
  
LIFE IN A LOVE.
  
IN THREE DAYS.
  
IN A YEAR.
  
WOMEN AND ROSES.
  
BEFORE.
  
AFTER.
  
THE GUARDIAN-ANGEL.
  
MEMORABILIA.
  
POPULARITY.
  
MASTER HUGUES OF SAXE-GOTHA.
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[section]
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LURIA;
  
[castlist]
 I. 
ACT I. MORNING.
 II. 
ACT II. NOON.
 III. 
ACT III. AFTERNOON.
 IV. 
ACT IV. EVENING.
 V. 
ACT V. NIGHT.
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VOL. VII.
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[section]
  
IN A BALCONY.
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DRAMATIS PERSONÆ.
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JAMES LEE'S WIFE.
 I. 
I.—JAMES LEE'S WIFE SPEAKS AT THE WINDOW.
 II. 
II.—BY THE FIRESIDE.
 III. 
III.—IN THE DOORWAY.
 IV. 
IV.—ALONG THE BEACH.
 V. 
V.—ON THE CLIFF.
 VI. 
VI.—READING A BOOK, UNDER THE CLIFF
 VII. 
VII.—AMONG THE ROCKS.
collapse sectionVIII. 
VIII.—BESIDE THE DRAWING BOARD.
 I. 
I.
 II. 
II.
 III. 
III.
 IX. 
IX.—ON DECK.
  
GOLD HAIR:
  
THE WORST OF IT.
  
DIS ALITER VISUM; OR, LE BYRON DE NOS JOURS.
  
TOO LATE.
  
ABT VOGLER.
  
RABBI BEN EZRA.
  
A DEATH IN THE DESERT.
  
CALIBAN UPON SETEBOS; OR, NATURAL THEOLOGY IN THE ISLAND.
  
CONFESSIONS.
  
MAY AND DEATH.
  
DEAF AND DUMB.
  
PROSPICE.
  
EURYDICE TO ORPHEUS.
  
YOUTH AND ART.
  
A FACE.
  
A LIKENESS.
  
MR. SLUDGE, “THE MEDIUM.”
  
APPARENT FAILURE.
  
EPILOGUE.
collapse sectionVIII, IX, X. 
VOL. VIII., IX., X.
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THE RING AND THE BOOK.
 I. 
I. THE RING AND THE BOOK.
 II. 
II. HALF-ROME.
 III. 
III. THE OTHER HALF-ROME.
 IV. 
IV. TERTIUM QUID.
 V. 
V. COUNT GUIDO FRANCESCHINI.
 VI. 
VI. GIUSEPPE CAPONSACCHI.
 VII. 
VII. POMPILIA.
 VIII. 
VIII. DOMINUS HYACINTHUS DE ARCHANGELIS,
 IX. 
IX. JURIS DOCTOR JOHANNES-BAPTISTA BOTTINIUS,
 X. 
X. THE POPE.
 XI. 
XI. GUIDO.
 XII. 
XII. THE BOOK AND THE RING.
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VOL. XI.
  
BALAUSTION'S ADVENTURE;
  
PRINCE HOHENSTIEL-SCHWANGAU,
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FIFINE AT THE FAIR.
  
PROLOGUE
  
FIFINE AT THE FAIR.
  
EPILOGUE.
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VOL. XII.
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RED COTTON NIGHT-CAP COUNTRY,
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
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THE INN ALBUM.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
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VOL. XIII.
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ARISTOPHANES' APOLOGY;
  
[section]
  
HERAKLES.
  
THE AGAMEMNON OF ÆSCHYLUS.
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VOL. XIV.
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PACCHIAROTTO AND HOW HE WORKED IN DISTEMPER ET CETERA
  
PROLOGUE.
  
OF PACCHIAROTTO, AND HOW HE WORKED IN DISTEMPER.
  
AT THE “MERMAID”
  
HOUSE.
  
SHOP.
 I. 
PISGAH-SIGHTS. I.
 II. 
PISGAH-SIGHTS. II.
  
FEARS AND SCRUPLES.
  
NATURAL MAGIC.
  
MAGICAL NATURE.
  
BIFURCATION.
  
NUMPHOLEPTOS.
  
APPEARANCES.
  
ST. MARTIN'S SUMMER.
  
HERVE RIEL.
  
A FORGIVENESS.
  
CENCIAJA.
  
FILIPPO BALDINUCCI ON THE PRIVILEGE OF BURIAL.
  
EPILOGUE.
  
LA SAISIAZ.
  
THE TWO POETS OF CROISIC.
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VOL. XV.
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DRAMATIC IDYLS.
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FIRST SERIES.
  
MARTIN RELPH.
  
PHEIDIPPIDES.
  
HALBERT AND HOB.
  
IVÀN IVÀNOVITCH.
  
TRAY.
  
NED BRATTS.
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SECOND SERIES.
  
[“You are sick, that's sure”—they say]
  
ECHETLOS.
  
CLIVE.
  
MULÉYKEH.
  
PIETRO OF ABANO.
  
DOCTOR ------
  
PAN AND LUNA.
  
[“Touch him ne'er so lightly, into song he broke]
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JOCOSERIA.
  
[Wanting is—what?]
  
DONALD.
  
SOLOMON AND BALKIS.
  
CRISTINA AND MONALDESCHI.
  
MARY WOLLSTONECRAFT AND FUSELI.
  
ADAM, LILITH, AND EVE.
  
IXION.
  
JOCHANAN HAKKADOSH.
  
NEVER THE TIME AND THE PLACE.
  
PAMBO.
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VOL. XVI.
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FERISHTAH'S FANCIES.
  
PROLOGUE.
  
THE EAGLE.
  
THE MELON-SELLER
  
SHAH ABBAS.
  
THE FAMILY.
  
THE SUN.
  
MIHRAB SHAH.
  
A CAMEL-DRIVER.
  
TWO CAMELS.
  
CHERRIES.
  
PLOT-CULTURE.
  
A PILLAR AT SEBZEVAR.
  
A BEAN-STRIPE: ALSO, APPLE-EATING.
  
EPILOGUE.
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PARLEYINGS WITH CERTAIN PEOPLE
  
[dedication]
  
APOLLO AND THE FATES.
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WITH BERNARD DE MANDEVILLE.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
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WITH DANIEL BARTOLI.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII.
 XVIII. 
XVIII.
  
WITH CHRISTOPHER SMART.
  
WITH GEORGE BUBB DODINGTON.
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WITH FRANCIS FURINI.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
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WITH GERARD DE LAIRESSE.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
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WITH CHARLES AVISON.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
  
FUST AND HIS FRIENDS.
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VOL. XVII.
  
[dedication]
  
PROLOGUE.
  
ROSNY.
  
DUBIETY.
  
NOW.
  
HUMILITY.
  
POETICS.
  
SUMMUM BONUM.
  
A PEARL, A GIRL.
  
SPECULATIVE.
  
WHITE WITCHCRAFT.
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[section]
 I. 
BAD DREAMS. I.
 II. 
BAD DREAMS. II.
 III. 
BAD DREAMS. III.
 IV. 
BAD DREAMS. IV.
  
INAPPREHENSIVENESS.
  
WHICH?
  
THE CARDINAL AND THE DOG.
  
THE POPE AND THE NET.
  
THE BEAN-FEAST
  
MUCKLE-MOUTH MEG.
  
ARCADES AMBO.
  
THE LADY AND THE PAINTER.
  
PONTE DELL' ANGELO, VENICE
  
BEATRICE SIGNORINI.
  
FLUTE-MUSIC, WITH AN ACCOMPANIMENT.
  
“IMPERANTE AUGUSTO NATUS EST—”
  
DEVELOPMENT.
  
REPHAN.
  
REVERIE.
  
EPILOGUE.

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XIX.

I saw . . . Oh brother, 'mid far sands
The palm-tree-cinctured city stands,
Bright-white beneath, as heaven, bright-blue,
Leans o'er it, while the years pursue
Their course, unable to abate
Its paradisal laugh at fate!
One morn,—the Arab staggers blind
O'er a new tract of death, calcined
To ashes, silence, nothingness,—
And strives, with dizzy wits, to guess
Whence fell the blow. What if, 'twixt skies
And prostrate earth, he should surprise
The imaged vapour, head to foot,
Surveying, motionless and mute,
Its work, ere, in a whirlwind rapt
It vanish up again?—So hapt
My chance. He stood there. Like the smoke
Pillared o'er Sodom, when day broke,—
I saw Him. One magnific pall
Mantled in massive fold and fall
291

His dread, and coiled in snaky swathes
About His feet: night's black, that bathes
All else, broke, grizzled with despair,
Against the soul of blackness there.
A gesture told the mood within—
That wrapped right hand which based the chin,
That intense meditation fixed
On His procedure,—pity mixed
With the fulfilment of decree.
Motionless, thus, He spoke to me,
Who fell before His feet, a mass,
No man now.
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