is not the most fortunate. It was in the `Repository' also,
in 1835 and 1836, that the other poems appeared, four in all.

The song in "Pippa Passes", beginning "A King lived long ago,"
was one of these; and the lyric, "Still ailing, wind?
Wilt be appeased or no?" afterwards revised and incorporated in "James Lee",
was another. But the two which are much the most noteworthy
are "Johannes Agricola" and "Porphyria". Even more distinctively
than in "Pauline", in their novel sentiment, new method,
and generally unique quality, is a new voice audible in these two poems.
They are very remarkable as the work of so young a poet,
and are interesting as showing how rapidly he had outgrown the influence
of any other of his poetic kindred. "Johannes Agricola" is significant
as being the first of those dramatic studies of warped religiosity,
of strange self-sophistication, which have afforded
so much matter for thought. In its dramatic concision,
its complex psychological significance, and its unique,
if to unaccustomed ears somewhat barbaric, poetic beauty,
"Porphyria" is still more remarkable.

It may be of this time, though possibly some years later,
that Mrs. Bridell-Fox writes: -- "I remember him as looking in often
in the evenings, having just returned from his first visit to Venice.
I cannot tell the date for certain. He was full of enthusiasm
for that Queen of Cities. He used to illustrate his glowing descriptions
of its beauties, the palaces, the sunsets, the moonrises,
by a most original kind of etching. Taking up a bit of stray notepaper,
he would hold it over a lighted candle, moving the paper about gently
till it was cloudily smoked over, and then utilising the darker smears
for clouds, shadows, water, or what not, would etch with a dry pen