Notwithstanding the fact that Mr. Browning but slightly appreciated his son's poetic idols and already found himself in an opposite literary camp, he had a profound sympathy with the boy's ideals and no little confidence in his powers. When the test came he acted wisely as well as with affectionate complaisance. In a word, he practically left the decision as to his course of life to Robert himself. The latter was helped thereto by the knowledge that his sister would be provided for, and that, if need be, there was sufficient for himself also. There was of course but one way open to him. He would not have been a true poet, an artist, if he had hesitated. With a strange misconception of the artistic spirit, some one has awarded the poet great credit for his choice, because he had "the singular courage to decline to be rich." Browning himself had nothing of this bourgeois spirit: he was the last man to speak of an inevitable artistic decision as "singular courage". There are no doubt people who estimate his resolve as Mr. Barrett, so his daughter declared, regarded Horne when he heard of that poet having published "Orion" at a farthing: "Perhaps he is going to shoot the Queen, and is preparing evidence of monomania." With Browning there never could have been two sides to the question: it were excusable, it were natural even, had his father wavered. The outcome of their deliberations was that Robert's further education should be obtained from travel, and intercourse with men and foreign literatures. By this time the poet was twenty. His youth had been uneventful; in a sense, more so than his boyhood. His mind, however, was rapidly unfolding, and great projects were casting a glory about the coming days. It was in his nineteenth year, I have been told on good authority, that he became ardently in love with a girl of rare beauty, a year or two older than himself, but otherwise, possibly, no inappropriate lover for this wooer. Why and when this early passion came to a close, or was rudely interrupted, is not known. What is certain is that it made a deep impression on the poet's mind. It may be that it, of itself, or wrought to a higher emotion by his hunger after ideal beauty, was the source of "Pauline", that very unequal but yet beautiful first fruit of Browning's genius. It was not till within the last few years that the poet spoke at all freely of his youthful life. Perhaps the earliest record of these utterances is that which appeared in the `Century Magazine' in 1881. From this source, and from what the poet himself said at various times and in various ways, we know that just about the time Balzac, after years of apparently waste labour, was beginning to forecast the Titanic range of the `Comedie Humaine', Browning planned "a series of monodramatic epics, narratives of the life of typical souls -- a gigantic scheme at which a Victor Hugo or a Lope de Vega would start back aghast."