ueen of Cities. He used to
illustrate his glowing descriptions of its beauties, the palaces, the
sunsets, the moonrises, by a most original kind of etching. Taking up a
bit of stray notepaper, he would hold it over a lighted candle, moving
the paper about gently till it was cloudily smoked over, and then
utilising the darker smears for clouds, shadows, water, or what not,
would etch with a dry pen the forms of lights on cloud and palace, on
bridge or gondola on the vague and dreamy surface he had produced." The
anticipations of genius had already produced a finer etching than any of
these, in those lines of marvellous swiftness and intensity in
_Paracelsus_, which describe Constantinople at the hour of sunset.

[Illustration: MAIN STREET OF ASOLO, SHOWING BROWNING'S HOUSE.

_From a drawing by_ Miss D. NOYES.]

The publication of _Sordello_ (1840) did not improve Browning's position
with the public. The poem was a challenge to the understanding of an
aspirant reader, and the challenge met with no response. An excuse for
not reading a poem of five or six thousand lines is grateful to so
infirm and shortlived a being as man. And, indeed, a prophet, if
prudent, may do well to postpone the privilege of being unintelligible
until he has secured a considerable number of disciples of both sexes.
The reception of _Sordello_ might have disheartened a poet of less
vigorous will than Browning; he merely marched breast forward, and let
_Sordello_ lie inert, until a new generation of readers had arisen. The
dramas, _King Victor and King Charles_ and _The Return of the Druses_
(at first named "Mansoor the Hierophant") now occupied his thoughts.
Short lyrical pieces were growing under his hand, and began to form a
considerable group. And one fortunate day as he strolled alone in the
Dulwich wood--his chosen resort of meditation--"the image flashed upon
him of one walking thus alone through life; one apparently too obscure
to leave a trace of his or her passage, yet exercising a lasting though
unconscious influence at every step of it."[22] In other words Pippa
had suddenly passed her poet in the wood.

A cheap mode of issuing his works now in manuscript was suggested to
Browning by the publisher Moxon. They might appear in successive
pamphlets, each of a single sheet printed in double-column, and the
series might be discontinued at any time if the public ceased to care
for it. The general title _Bells and Pomegranates_ was chosen; "