about a fair on the Neva, and booths and droshkies and fish-pies and so
forth, with the Palaces in the background."[15] Late in life, at Venice,
Browning became acquainted with an old Russian, Prince Gagarin, with
whom he competed successfully for an hour in recalling folk-songs and
national airs of Russia caught up during the visit of 1833-34. "His
memory," said Gagarin, "is better than my own, on which I have hitherto
piqued myself not a little."[16] Perhaps it was his wanderings abroad
that made Browning at this time desire further wanderings. He thought of
a diplomatic career, and felt some regret when he failed to obtain an
appointment for which he had applied in connection with a mission to
Persia.

In the winter of 1834 Browning was at work on _Paracelsus_, which, after
disappointments with other houses, was accepted, on terms that secured
the publisher from risk, by Effingham Wilson, and appeared before
midsummer of the following year. The subject had been suggested by Count
Amédée de Ripert-Monclar, a young French royalist, engaged in secret
service on behalf of the dethroned Bourbons. To him the poem is
dedicated. For a befitting treatment of the story of Paracelsus special
studies were necessary, and Browning entered into these with zeal,
taking in his poem--as he himself believed--only trifling liberties with
the matter of history. In solitary midnight walks he meditated his theme
and its development. "There was, in particular," Mr Sharp tells us, "a
wood near Dulwich, whither he was wont to go." Mr Sharp adds that at
this time Browning composed much in the open air, and that "the glow of
distant London" at night, with the thought of its multitudinous human
life, was an inspiring influence. The sea which spoke to Browning with
most expressive utterances was always the sea of humanity.

In its combination of thought with passion, and not less in its