Find the rest of Mr. Average's argument on page 67. These objections to the poetry of Mr. Browning, which the dense, involved, and metaphysical treatment of "Sordello" first suggested to the public, are made to apply to all his subsequent writings. We concede that "Sordello" over-refines, and that, after reading it, "who _would_ has heard Sordello's story told," but who would not and could not has probably not heard it. The very time of the poem, which is put several centuries back amid the scenery of the Guelph and Ghibelline feuds, as if to make the struggle of a humane and poetic soul to grow, to become recognized, to find a place and purpose, seem still more premature, puzzles the reader with remote allusions, with names that belong to obscure Italian narrative, with motives and events that require historical analysis. The poem is impatient with those very things which make the environment of the bard Sordello, and treats them in curt lines. A character is jammed into a sentence, like a witch into a snuff-box, the didactic parts grow metaphysical, and the life of Sordello does not fuse the events of the poem into one long rhythm. He thinks and dreams apart, and Palma's ambition for him is an aside, and the events swing their arms and strike fiery and cruel blows with Sordello absent. Considering Mr. Browning's intent, there is a fine poetic success in this very fault of the poem, but it is not a plain one, and is an after-thought of the critic. The numerous splendid pages in "Sordello" do nothing towards making one complete impression which cannot be evaded. Naddo, the genius-haunter, would complain, that, in struggling out towards these aisles of beauty, he had seriously compromised his clothing in the underbrush.