riumphed. And generally, as in
"My Last Duchess," the speaker adds a word here and there, aside from the
story, which unconsciously shows the kind of man he is. It is this power of
revealing the soul from within that causes Browning to fascinate those who
study him long enough. His range is enormous, and brings all sorts and
conditions of men under analysis. The musician in "Abt Vogler," the artist
in "Andrea del Sarto," the early Christian in "A Death in the Desert," the
Arab horseman in "Muteykeh," the sailor in "Herve Kiel," the mediaeval
knight in "Childe Roland," the Hebrew in "Saul," the Greek in "Balaustion's
Adventure," the monster in "Caliban," the immortal dead in "Karshish,"--all
these and a hundred more histories of the soul show Browning's marvelous
versatility. It is this great range of sympathy with many different types
of life that constitutes Browning's chief likeness to Shakespeare, though
otherwise there is no comparison between the two men.

If we separate all these dramatic poems into three main periods,--the
early, from 1833 to 1841; the middle, from 1841 to 1868; and the late, from
1868 to 1889,--the work of the beginner will be much more easily
designated. Of his early soul studies, _Pauline_ (1833), _Paracelsus_
(1835), and _Sordello_ (1840), little need be said here, except perhaps
this: that if we begin with these works, we shall probably never read
anything else by Browning. And that were a pity. It is better to leave
these obscure works until his better poems have so attracted us to Browning
that we will cheerfully endure his worst faults for the sake of his
undoubted virtues. The same criticism applies, though in less degree, to
his first drama, _Strafford_ (1837), which belongs to the early period of
his work.

The merciless criticism which greeted _Sordello_ had a wholesome effect on
Browning, as is shown in the better work of his second period. Moreover,
his new power was developing rapidly, as may be seen by comparing the eight
numbers of his famous _Bells and Pomegranates_ series (1841-1846) with his
earlier work. Thus, the first number of this wonderful series, published in
1841, contains _Pippa Passes_, which is, on the whole, the most perfect of
his longer poems; and another number contains _A Blot in the 'Scutcheon_,
which is the most readable of his dramas. Even a beginner must be thrilled
by the beauty and the power of these two works. Two other noteworthy dramas
of the period ar