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 of a fruit, merely served to keep the inner sensibilities young and fresh. None of his instincts grew old. Long as he lived, he did not live long enough for one of his ideals to vanish, for one of his enthusiasms to lose its heat. The subtlest of writers, he 'was the singlest of men, and he learned in serenity what he taught in song.' The question of the 'obscurity' of his style has been mooted too often and emphasised too much by Browning's friends and enemies alike, to be passed over in silence here. But here, at the same time, it is impossible to deal with it exhaustively. Something may, however, be said in admission and in defence. We must admit that Browning is often harsh, hard, crabbed, and nodulous to the last degree; he suppressed too many of the smaller parts of speech in his desire to produce a concise and rapid impression. He twisted words out of their fit construction, he clothed extremely subtle ideas in language which sometimes made them appear not merely difficult but impossible of comprehension. Odd as it sounds to say so, these faults seem to have been the result of too facile a mode of composition. Perhaps no poet of equal importance has written so fluently and corrected so little as Browning did. On the other hand, in defence, it must be said that it is always, or nearly always, possible to penetrate Browning's obscurity, and to find excellent thought hidden in the cloud, and that time and familiarity have already made a great deal perfectly translucent which at one time seemed impenetrable even to the most respectful and intelligent reader.

In person Browning was below the middle height, but broadly built and of great muscular strength, which he retained through life in spite of his indifference to all athletic exercises. His hair was dark brown, and in early life exceedingly full and lustrous; in middle life it faded, and in old age turned white, remaining copious to the last. The earliest known portrait of Browning is that engraved for Home's 'New Spirit of the Age' in 1844, when he was about thirty-two. In 1854 a highly finished pencil drawing of him was made in Rome by Frederic Leighton, but this appears to be lost. In 1855, or a little later, Browning was painted by Gordigiani, and in 1856 Woolner executed a bronze medallion of him. In 1859 Mr. and Mrs. Browning sat to Field Talfourd in Florence for life-sized crayon portraits, of which that of Elizabeth is now in the National Portrait Gallery, where that of Robert, long in the possession of the present writer, joined it in July 1900. Of this portrait Browning wrote long afterwards (23 Feb. 1888), 'My sister — a better authority than myself — has always liked it, as resembling its subject when his features had more resemblance to those of his mother than in after-time, when those of his father got the better — or perhaps the worse — of them.' He was again painted by Mr. G. F. Watts, R.A., about 1805, and by Mr. Rudolf Lehmann in 1859 and several later occasions. The portraits by Watts and Lehmann are in the National Portrait Gallery. In his last years Browning, with extreme good-nature, was willing to sit for his portrait to any one who asked him. He was once discovered in Venice, surrounded, like a model in a life-class, by a group of artistic ladies, each taking him off from a different point of view. Of these representations of Browning as an old man, the best are certainly those executed by his son, in particular a portrait painted in the summer and autumn of 1880.

The publications of Robert Browning, with their dates of issue, have been mentioned in the course of the narrative. The first of the collected editions, the so-called 'New Edition' of 1849, in 2 vols., was not complete even up to date. Much more comprehensive was the 'third edition' (really the second) of the 'Poetical Works of Robert Browning' issued in 1863. A 'fourth' (third) appeared in 1865. 'Selections' were published in 1863 and 1865. The earliest edition of the 'Poetical Works' which was complete in any true sense was that issued by Messrs. Smith, Elder, & Co. in 1868, in six volumes; here 'Pauline' first reappeared, and here is published for the first time the poem entitled 'Deaf and Dumb.' These volumes represent Browning's achievements down to, but not including, 'The Ring and the Book.' Further independent selections were published in 1872 and 1880; and both were reprinted in 1884. A beautiful separate edition of 'The Pied Piper of Hamelin,' made to accompany Pinwell's drawings, belongs to 1884. The edition of Browning's works, in sixteen volumes, was issued in 1888-9, and contains everything but 'Asolando.' In 1896 there appeared a complete edition, in two volumes, edited by Mr. Augustine Birrell, Q.C.,M.P., and Mr. F. G. Kenyon.

A claim has been made for the authorship by Browning of John Forster's 'Life of Stratford,' originally published in 1836; and this book was rashly reprinted by the Browning Society in 1892 as 'Robert Browning's Prose Life of Strafford.' This attribution was immediately repudiated, in the least equivocal terms possible, by the surviving