University of Virginia Library

Search this document 
The Poetical Works of Robert Browning

Browning, Robert (1812-1889)

collapse sectionI. 
VOL. I.
  
[dedication]
  
PAULINE;
  
SORDELLO.
collapse sectionII. 
VOL. II.
collapse section 
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.
collapse section 
STRAFFORD;
collapse sectionI. 
ACT I.
 I. 
Scene I.
 II. 
Scene II.
collapse sectionII. 
ACT II.
 I. 
Scene I.
 II. 
Scene II.
collapse sectionIII. 
ACT III.
 I. 
Scene I.
 II. 
Scene II.
 III. 
Scene III.
collapse sectionIV. 
ACT IV.
 I. 
Scene I.
 II. 
Scene II.
 III. 
Scene III.
collapse sectionV. 
ACT V.
 I. 
Scene I.
 II. 
Scene II.
collapse sectionIII. 
VOL. III.
collapse section 
PIPPA PASSES;
  
[dedication]
  
[castlist]
  
INTRODUCTION.
 I. 
PART I. MORNING.
 II. 
PART II. NOON.
 III. 
PART III. EVENING.
 IV. 
PART IV. NIGHT.
collapse section 
KING VICTOR & KING CHARLES;
  
[castlist]
collapse section 
FIRST YEAR, 1730.—KING VICTOR.
 I. 
Part I.
 II. 
Part II.
collapse section 
SECOND YEAR, 1731.—KING CHARLES.
 I. 
Part I.
 II. 
Part II.
collapse section 
THE RETURN OF THE DRUSES
  
[castlist]
 I. 
ACT I.
 II. 
ACT II.
 III. 
ACT III.
 IV. 
ACT IV.
 V. 
ACT V.
collapse section 
A SOUL'S TRAGEDY.
  
[castlist]
 I. 
ACT I.
 II. 
ACT II.
collapse sectionIV. 
VOL. IV.
collapse section 
A BLOT IN THE 'SCUTCHEON;
  
[castlist]
collapse sectionI. 
ACT I.
 I. 
Scene I.
 II. 
Scene II.
 III. 
Scene III.
 II. 
ACT II.
collapse sectionIII. 
ACT III.
 I. 
Scene I.
 II. 
Scene II.
collapse section 
COLOMBE'S BIRTHDAY;
  
[castlist]
 I. 
ACT I. MORNING.
 II. 
ACT II. NOON.
 III. 
ACT III. AFTERNOON.
 IV. 
ACT IV. EVENING.
 V. 
ACT V. NIGHT.
collapse section 
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
collapse sectionV. 
VOL. V.
collapse section 
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.
collapse section 
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]
collapse section 
WARING.
 I. 
I.
 II. 
II.
  
THE TWINS.
  
A LIGHT WOMAN.
  
THE LAST RIDE TOGETHER.
  
THE PIED PIPER OF HAMELIN;
collapse section 
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,
collapse section 
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.”
collapse section 
CHRISTMAS-EVE AND EASTER-DAY.
  
CHRISTMAS EVE.
collapse section 
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.
collapse sectionVI. 
VOL. VI.
collapse section 
DRAMATIC LYRICS.
collapse section 
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.
collapse section 
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.
collapse section 
[section]
collapse section 
LURIA;
  
[castlist]
 I. 
ACT I. MORNING.
 II. 
ACT II. NOON.
 III. 
ACT III. AFTERNOON.
 IV. 
ACT IV. EVENING.
 V. 
ACT V. NIGHT.
collapse sectionVII. 
VOL. VII.
collapse section 
[section]
  
IN A BALCONY.
collapse section 
DRAMATIS PERSONÆ.
collapse section 
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.
collapse section 
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.
collapse sectionXI. 
VOL. XI.
  
BALAUSTION'S ADVENTURE;
  
PRINCE HOHENSTIEL-SCHWANGAU,
collapse section 
FIFINE AT THE FAIR.
  
PROLOGUE
  
FIFINE AT THE FAIR.
  
EPILOGUE.
collapse sectionXII. 
VOL. XII.
collapse section 
RED COTTON NIGHT-CAP COUNTRY,
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
collapse section 
THE INN ALBUM.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
collapse sectionXIII. 
VOL. XIII.
collapse section 
ARISTOPHANES' APOLOGY;
  
[section]
  
HERAKLES.
  
THE AGAMEMNON OF ÆSCHYLUS.
collapse sectionXIV. 
VOL. XIV.
collapse section 
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.
collapse sectionXV. 
VOL. XV.
collapse section 
DRAMATIC IDYLS.
collapse section1. 
FIRST SERIES.
  
MARTIN RELPH.
  
PHEIDIPPIDES.
  
HALBERT AND HOB.
  
IVÀN IVÀNOVITCH.
  
TRAY.
  
NED BRATTS.
collapse section2. 
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]
collapse section 
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.
collapse sectionXVI. 
VOL. XVI.
collapse section 
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.
collapse section 
PARLEYINGS WITH CERTAIN PEOPLE
  
[dedication]
  
APOLLO AND THE FATES.
collapse section 
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.
collapse section 
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.
collapse section 
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.
collapse section 
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.
collapse section 
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.
collapse sectionXVII. 
VOL. XVII.
  
[dedication]
  
PROLOGUE.
  
ROSNY.
  
DUBIETY.
  
NOW.
  
HUMILITY.
  
POETICS.
  
SUMMUM BONUM.
  
A PEARL, A GIRL.
  
SPECULATIVE.
  
WHITE WITCHCRAFT.
collapse section 
[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.

collapse section Collapse All | Expand All expand section
previous section The Poetical Works of Robert Browning
next section
17

BAD DREAMS. II.

You in the flesh and here—
Your very self! Now, wait!
One word! May I hope or fear?
Must I speak in love or hate?
Stay while I ruminate!
The fact and each circumstance
Dare you disown? Not you!
That vast dome, that huge dance,
And the gloom which overgrew
A—possibly festive crew!
For why should men dance at all—
Why women—a crowd of both—
18

Unless they are gay? Strange ball—
Hands and feet plighting troth,
Yet partners enforced and loth!
Of who danced there, no shape
Did I recognize: thwart, perverse,
Each grasped each, past escape
In a whirl or weary or worse:
Man's sneer met woman's curse,
While he and she toiled as if
Their guardian set galley-slaves
To supple chained limbs grown stiff:
Unmanacled trulls and knaves—
The lash for who misbehaves!
And a gloom was, all the while,
Deeper and deeper yet
O'ergrowing the rank and file
Of that army of haters—set
To mimic love's fever-fret.
19

By the wall-side close I crept,
Avoiding the livid maze,
And, safely so far, outstepped
On a chamber—a chapel, says
My memory or betrays—
Closet-like, kept aloof
From unseemly witnessing
What sport made floor and roof
Of the Devil's palace ring
While his Damned amused their king.
Ay, for a low lamp burned,
And a silence lay about
What I, in the midst, discerned
Though dimly till, past doubt,
'T was a sort of throne stood out—
High seat with steps, at least:
And the topmost step was filled
20

By—whom? What vestured priest?
A stranger to me,—his guild,
His cult, unreconciled
To my knowledge how guild and cult
Are clothed in this world of ours:
I pondered, but no result
Came to—unless that Giaours
So worship the Lower Powers.
When suddenly who entered?
Who knelt—did you guess I saw?
Who—raising that face where centred
Allegiance to love and law
So lately—off-casting awe,
Down-treading reserve, away
Thrusting respect . . . but mine
Stands firm—firm still shall stay!
Ask Satan! for I decline
To tell—what I saw, in fine!
21

Yet here in the flesh you come—
Your same self, form and face,—
In the eyes, mirth still at home!
On the lips, that commonplace
Perfection of honest grace!
Yet your errand is—needs must be—
To palliate—well, explain,
Expurgate in some degree
Your soul of its ugly stain.
Oh, you—the good in grain—
How was it your white took tinge?
“A mere dream”—never object!
Sleep leaves a door on hinge
Whence soul, ere our flesh suspect,
Is off and away: detect
Her vagaries when loose, who can!
Be she pranksome, be she prude,
22

Disguise with the day began:
With the night—ah, what ensued
From draughts of a drink hell-brewed?
Then She: “What a queer wild dream!
And perhaps the best fun is—
Myself had its fellow—I seem
Scarce awake from yet. 'T was this—
Shall I tell you? First, a kiss!
“For the fault was just your own,—
'T is myself expect apology:
You warned me to let alone
(Since our studies were mere philology)
That ticklish (you said) Anthology.
“So, I dreamed that I passed exam
Till a question posed me sore:
‘Who translated this epigram
By—an author we best ignore?’
And I answered ‘Hannah More’!”
previous section The Poetical Works of Robert Browning
next section