PIPPA PASSES

A DRAMA

Sordello did not prove commercially successful, and Browning was reluctant to go on publishing his poetry at his father's expense. "One day," Mr. Gosse says, "as the poet was discussing the matter with Mr. Edward Moxon, the publisher, the latter remarked that at that time he was bringing out some editions of the old Elizabethan dramatists in a comparatively cheap form, and that if Mr. Browning would consent to print his poems as pamphlets, using this cheap type, the expense would be very inconsiderable." Browning accepted the suggestion at once and began the issue of a cheap series of pamphlets, each sixteen octavo pages in double column, printed on poor paper and sold first for a sixpence each, the price afterward being raised to a shilling and then to half a crown. The series consisted of eight numbers under the general fanciful title Bells and Pomegranates. Apparently the passage in Exodus xxviii. 33, "And beneath upon the hem of it [the priest's robe] thou shalt make pomegranates of blue, and of purple, and of scarlet, round about the hem thereof; and bells of gold between them round about," suggested the title, but as all sorts of speculations sprang up about its significance, Browning appended the following note to the eighth and final number of the series:—

"Here ends my first series of Bells and Pomegranates, and I take the opportunity of explaining, in reply to inquiries, that I only meant by that title to indicate an endeavor towards something like an alteration, or mixture, of music with discoursing, sound with sense, poetry with thought; which looks too ambitious, thus expressed, so the symbol was preferred. It is little to the purpose, that such is actually one of the most familiar of the many Rabbinical (and Patristic) acceptations of the phrase; because I confess that, letting authority alone, I suppose the bare words, in such juxtaposition, would sufficiently convey the desired meaning. 'Faith and good works' is another fancy, for instance, and perhaps no easier to arrive at; yet Giotto placed a pomegranate fruit in the hand of Dante, and Raffaello crowned his Theology (in the Camera della Segnatura) with blossoms of the same; as if the Bellari and Vasari would be sure to come after, and explain that it was merely 'simbolo delle buone opere—il qual Pomogranato fu però usato nelle veste del Pontefice appresso gli Ebrei.'

"R. B."

The first number of Bells and Pomegranates contained Pippa Passes. It was published in 1841 and was introduced by the following dedicatory preface:—

Two or three years ago I wrote a Play, about which the chief matter I much care to recollect at present is, that a Pitfull of good-natured people applauded it: ever since, I have been desirous of doing something in the same way that should better reward their attention. What follows, I mean for the first of a series of Dramatical Pieces, to come out at intervals; and I amuse myself by fancying that the cheap mode in which they appear, will for once help me to a sort of Pit-audience again. Of course such a work must go on no longer than it is liked; and to provide against a too certain and but too possible contingency, let me hasten to say now—what, if I were sure of success, I would try to say circumstantially enough at the close—that I dedicate my best intentions most admiringly to the Author of Ion—most affectionately to Sergeant Talfourd.

Robert Browning.

The phrases in the closing sentence were afterward used by Browning as a dedication when he discarded the advertisement in the collective editions of his poems.

PERSONS

Pippa.

Ottima.

Sebald.

Foreign Students.

Gottlieb.

Schramm.

Jules.

Phene.

Austrian Police.

Bluphocks.

Luigi and his mother.

Poor Girls.

Monsignor and his attendants.