Fortunately the deep humanity of his work in the mass conserves it against the mere veerings of taste. A reaction against it will inevitably come; but this will pass: what, in the future, when the unborn readers of Browning will look back with clear eyes untroubled by the dust of our footsteps, not to subside till long after we too are dust, will be the place given to this poet, we know not, nor can more than speculatively estimate. That it will, however, be a high one, so far as his weightiest (in bulk, it may possibly be but a relatively slender) accomplishment is concerned, we may rest well assured: for indeed "It lives, If precious be the soul of man to man."

So far as has been ascertained there were only three reviews or notices of "Pauline": the very favourable article by Mr. Fox in the `Monthly Repository', the kindly paper by Allan Cunningham in the `Athenaeum', and, in `Tait's Edinburgh Magazine', the succinctly expressed impression of either an indolent or an incapable reviewer: "Pauline; a Fragment of a Confession; a piece of pure bewilderment" — a "criticism" which anticipated and thus prevented the insertion of a highly favourable review which John Stuart Mill voluntarily wrote.

Browning must have regarded his first book with mingled feelings. It was a bid for literary fortune, in one sense, but a bid so handicapped by the circumstances of its publication as to be almost certainly of no avail. Probably, however, he was well content that it should have mere existence. Already the fever of an abnormal intellectual curiosity was upon him: already he had schemed more potent and more vital poems: already, even, he had developed towards a more individualistic method. So indifferent was he to an easily gained reputation that he seems to have been really urgent upon his relatives and intimate acquaintances not to betray his authorship. The Miss Flower, however, to whom allusion has already been made, could not repress her admiration to the extent of depriving her friend, Mr. Fox, of a pleasure similar to that she had herself enjoyed. The result was the generous notice in the `Monthly Repository'. The poet never forgot his indebtedness to Mr. Fox, to whose sympathy and kindness much direct and indirect good is traceable. The friendship then begun was lifelong, and was continued with the distinguished Unitarian's family when Mr. Fox himself ended his active and beneficent career.

But after a time the few admirers of "Pauline" forgot to speak about it: the poet himself never alluded to it: and in a year or two it was almost as though it had never been written. Many years after, when articles upon Robert Browning were as numerous as they once had been scarce, never a word betrayed that their authors knew of the existence of "Pauline". There was, however, yet another friendship to come out of this book, though not until long after it was practically forgotten by its author.

One day a young poet-painter came upon a copy of the book in the British Museum Library, and was at once captivated by its beauty. One of the earliest admirers of Browning's poetry, Dante Gabriel Rossetti — for it was he — felt certain that "Pauline" could be by none other than the author of "Paracelsus". He himself informed me that he had never heard this authorship suggested, though some one had spoken to him of a poem of remarkable promise, called "Pauline", which he ought to read. If I remember aright, Rossetti told me that it was on the forenoon of the day when the "Burden of Nineveh" was begun, conceived rather, that he read this story of a soul by the soul's ablest historian. So delighted was he with it, and so strong his opinion it was by Browning, that he wrote to the poet, then in Florence, for confirmation, stating at the same time that his admiration for "Pauline" had led him to transcribe the whole of it.

Concerning this episode, Robert Browning wrote to me, some seven years ago, as follows: —

==
St. Pierre de Chartreuse,
Isere, France.

. . . . .

"Rossetti's `Pauline' letter was addressed to me at Florence more than thirty years ago. I have preserved it, but, even were I at home, should be unable to find it without troublesome searching. It was to the effect that the writer, personally and altogether unknown to me, had come upon a poem in the British Museum, which he copied the whole of, from its being not otherwise procurable — that he judged it to be mine, but could not be sure, and wished me to pronounce in the matter — which I did. A year or two after, I had a visit in London from Mr. (William) Allingham and a friend — who proved to be Rossetti. When I heard he was a painter I insisted on calling on him, though he declared he had nothing to show me — which was far enough from the case. Subsequently, on another of my returns to London, he painted my portrait, not, I fancy, in oils, but water-colours, and finished it in Paris shortly after. This must have been in the year when Tennyson published `Maud', for I remember Tennyson reading the poem one evening while Rossetti made a rapid pen-and-ink sketch of him, very good, from one obscure corner of vantage, which I still possess, and duly value. This was before Rossetti's marriage."*

— * The highly interesting and excellent portrait of Browning here alluded to has never been exhibited. — ==