upon the hem of the robe thou shalt make pomegranates of blue, and of
purple, and of scarlet, round about the hem thereof; and bells of gold
between them round about." Browning, as he explained to his readers in
the last number, meant to indicate by the title, "Something like an
alternation, or mixture, of music with discoursing, sound with sense,
poetry with thought"--such having been, in fact, one of the most
familiar of the Rabbinical interpretations designed to expound the
symbolism of this priestly decoration prescribed in "Exodus." From 1841
to 1846 the numbers of _Bells and Pomegranates_ successively appeared;
with the eighth the series closed. The first number--_Pippa Passes_--was
sold for sixpence; when _King Victor and King Charles_ was published in
the following year (1842), the price was raised to one shilling. The
third and the seventh numbers were made up of short pieces--_Dramatic
Lyrics_ (1842), _Dramatic Romances and Lyrics_ (1845). _The Return of
the Druses_ and _A Blot in the 'Scutcheon_--Numbers 4 and 5--followed
each other in the same year 1843. _Colombe's Birthday_--the only number
which is known to survive in manuscript--came next in order (1844). The
last to appear was that which included _Luna_, Browning's favourite
among his dramas, and _A Soul's Tragedy_.[23] His sister, except in the
instance of _Colombe_, was Browning's amanuensis. On each title-page he
is named Robert Browning "Author of Paracelsus"--the "wholly
unintelligible" _Sordello_ being passed over. Talfourd, "Barry
Cornwall," and John Kenyon (the cousin of Elizabeth Barrett) were
honoured with dedications. In these pamphlets of Moxon, Browning's
wonderful apples of gold were certainly not presented to the public in
pictures or baskets of silver; yet the possessor of the eight parts in
their yellow paper wrappers may now be congratulated. Only one of the
numbers--_A Blot in the 'Scutcheon_--attained the distinction of a
second edition, and this probably because the drama as published was
helped to a comparative popularity by its representation on the stage.