Life of Robert Browning [29]
but whom I take to be Mr. Nettleship) has publicly alluded
to his possession of a rival poem (entitled, simply, "Hamelin")
by Robert Browning the elder, and of a letter which he had sent to a friend
along with the verses, in which he writes: "Before I knew
that Robert had begun the story of the `Rats' I had contemplated a tale
on the same subject, and proceeded with it as far as you see,
but, on hearing that Robert had a similar one on hand, I desisted."
This must have been in 1842, for it was in that year
that the third part of `Bells and Pomegranates' was published.
In 1843, however, he finished it. Browning's "Pied Piper"
has been translated into French, Russian, Italian, and German.
The latter (or one German) version is in prose. It was made in 1880,
for a special purpose, and occupied the whole of one number
of the local paper of Hameln, which is a quaint townlet in Hanover.
--
Browning promised to consider the suggestion. Six weeks later,
in company with Forster, with whom he had become intimate,
he called upon Macready, to discuss the plot of a tragedy
which he had pondered. He told the tragedian how deeply he had been impressed
by his performance of "Othello", and how this had deflected his intention
from a modern and European to an Oriental and ancient theme.
"Browning said that I had BIT him by my performance of `Othello',
and I told him I hoped I should make the blood come." The "blood" had come
in the guise of a drama-motive based on the crucial period in the career
of Narses, the eunuch-general of Justinian. Macready liked the suggestion,
though he demurred to one or two points in the outline:
and before Browning left he eagerly pressed him to "go on with `Narses'."
But whether Browning mistrusted his own interest in the theme,
or was dubious as to the success with which Macready
would realise his conception, or as to the reception a play of such nature
would win from an auditory no longer reverent of high dramatic ideals,
he gave up the idea. Some three months later (May 26th) he enjoyed
another eventful evening. It was the night of the first performance
of Talfourd's "Ion", and he was among the personal friends of Macready
who were invited to the supper at Talfourd's rooms.
After the fall of the curtain, Browning, Forster, and other friends
sought the tragedian and congratulated him upon the success
both of the play and of his impersonation of the chief character.
They then adjourned to the house of the author of "Ion".
To his surprise and gratification Browning found himself placed
next but one to his host, and immediately opposite Macready,
who sat between two gentlemen, one calm as a summer evening,
and the other with a tempestuous youth dominating his sixty years,
whom the young poet at once recognised as Wordsworth and Walter Savage Landor.
Every one was in good spirits: the host perhaps most of all,
who was celebrating his birthday as well as the success of "Ion".
Possibly Macready was the only person who felt at all bored --
unless it was Landor -- for Wordsworth was not, at such a function,
an entertaining conversationalist. There is much significance
in the succinct entry in Macready's journal concerning the Lake-poet --
"Wordsworth, who pinned me." . . . When Talfourd rose
to propose the toast of "The Poets of England" every one probably expected
that Wordsworth would be named to respond. But with a kindly grace the host,
after flattering remarks upon the two great men then honouring him
by sitting at his table, coupled his toast with the name
of the youngest of the poets of England -- "Mr. Robert Browning,
the author of `Paracelsus'." It was a very proud moment for Browning,
singled out among that brilliant company: and it is pleasant to know,
on the authority of Miss Mitford, who was present, that "he performed his task
with grace and modesty," looking, the amiable lady adds,
even younger than he was. Perhaps, however, he was prouder still
when Wordsworth leaned across the table,