Such glimpses will serve to indicate the kind of essential issue that
there was in the nature of things between the generation of Browning
and the generation of his father. Browning was bound in the nature of
things to become at the outset Byronic, and Byronism was not, of
course, in reality so much a pessimism about civilised things as an
optimism about savage things. This great revolt on behalf of the
elemental which Keats and Shelley represented was bound first of all
to occur. Robert Browning junior had to be a part of it, and Robert
Browning senior had to go back to his water colours and the faultless
couplets of Pope with the full sense of the greatest pathos that the
world contains, the pathos of the man who has produced something that
he cannot understand.

The earliest works of Browning bear witness, without exception, to
this ardent and somewhat sentimental evolution. _Pauline_ appeared
anonymously in 1833. It exhibits the characteristic mark of a juvenile
poem, the general suggestion that the author is a thousand years old.
Browning calls it a fragment of a confession; and Mr. Johnson Fox, an
old friend of Browning's father, who reviewed it for _Tait's
Magazine_, said, with truth, that it would be difficult to find
anything more purely confessional. It is the typical confession of a
boy laying bare all the spiritual crimes of infidelity and moral
waste, in a state of genuine ignorance of the fact that every one else
has committed them. It is wholesome and natural for youth to go about
confessing that the grass is green, and whispering to a priest
hoarsely that it has found a sun in heaven. But the records of that
particular period of development, even when they are as ornate and
beautiful as _Pauline_, are not necessarily or invariably wholesome
reading. The chief interest of _Pauline_, with all its beauties, lies
in a certain almost humorous singularity, the fact that Browning, of