[Footnote 9: Paracelsus has two particular claims upon our regard. He gave us laudanum, a discovery of incalculable blessing to mankind. And from his fourth baptismal name, which he inherited from his father, we have our familiar term, 'bombast.' Readers interested in the known facts concerning the "master-mind, the thinker, the explorer, the creator," the forerunner of Mesmer and even of Darwin and Wallace, who began life with the sounding appellation "Philippus Aureolus Theophrastus Bombastus ab Hohenheim," should consult Browning's own learned appendical note, and Mr. Berdoe's interesting essay in the Browning Society Papers, No. xlix.] Paracelsus, his friends Festus and his wife Michal, and Aprile, an Italian poet, are the characters who are the personal media through which Browning's already powerful genius found expression. The poem is, of a kind, an epic: the epic of a brave soul striving against baffling circumstance. It is full of passages of rare technical excellence, as well as of conceptive beauty: so full, indeed, that the sympathetic reader of it as a drama will be too apt to overlook its radical shortcomings, cast as it is in the dramatic mould. But it must not be forgotten that Browning himself distinctly stated he had attempted to write "a poem, not a drama": and in the light of this simple statement half the objections that have been made fall to the ground. Paracelsus is the protagonist: the others are merely incidental. The poem is the soul-history of the great medical student who began life so brave of aspect and died so miserably at Salzburg: but it is also the history of a typical human soul, which can be read without any knowledge of actual particulars. Aprile is a projection of the poet's own poetical ideal. He speaks, but he does not live as Festus lives, or even as Michal, who, by the way, is interesting as being the first in the long gallery of Browning's women--a gallery of superbly-drawn portraits, of noble and striking and always intensely human women, unparalleled except in Shakspere. Pauline, of course, exists only as an abstraction, and Porphyria is in no exact sense a portrait from the life. Yet Michal can be revealed only to the sympathetic eye, for she is not drawn, but again and again suddenly silhouetted. We see her in profile always: but when she exclaims at the last, "I ever did believe," we feel that she has withdrawn the veil partially hiding her fair and generous spirit. To the lover of poetry "Paracelsus" will always be a Golconda. It has lines and passages of extraordinary power, of a haunting beauty, and of a unique and exquisite charm. It may be noted, in exemplification of Browning's artistic range, that in the descriptive passages he paints as well in the elaborate Pre-Raphaelite method as with a broad synthetic touch: as in