of his character into a piece of heroism which properly belongs to the man he would like to be thought, but has not the strength to be. On the whole, Browning's scorn must be considered to have injured his art. Tragedy, in the deepest sense, lay beyond his sphere; and this "tragedy" of mere degeneration and helpless collapse left untouched all the springs from which his poetry drew its life. [Footnote 21: Browning's letter to Elizabeth Barrett, Feb. 13, 1846, which does not seem to have been adequately noticed. The piece is ignored by Mrs Orr. He speaks of suspending the publication of the "unlucky play" until a second edition of the _Bells_--an "apparition" which Moxon, he says, seems to think possible; and then inserting it before _Luria_: it will then be "in its place, for it was written two or three years ago." In other words, _The Soul's Tragedy_ was written in 1843-44, between _Colombe's Birthday_ and _Luria_.] In the autumn of 1844 Browning made a second tour to Italy. It was chiefly memorable for his meeting, at Leghorn, with Edward John Trelawney, to whom he carried a letter of introduction;--one who had not only himself "seen Shelley plain," but has contributed more than any one else, save Hogg, to flash the unfading image of what he saw on the eyes of posterity. The journey quickened and enriched his Italian memories; and left many vivid traces in the poetry of the following year. Among these was the drama of _Luria_, ultimately published as the concluding number of the _Bells_.