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 a 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