Selections from the Poems and Plays of Robert Browning. Robert BrowningЧитать онлайн книгу.
murder case. He read the account on the way home, and before night had so mastered the details that, as he paced up and down on the terrace in the darkness, he saw the tragedy unfold before him in picture after picture. It was not, however, till 1864 that he definitely set to work on the composition of the poem. It was published in four volumes of three parts each, in the winter and spring of 1868-9. The poem has a novel structure. The story is retold ten times by different persons and with such variations of fact and opinions and style as are dictated by the knowledge and the character of the speaker. The monologues of Count Guido, who murdered his wife, of Pompilia the young wife, of Caponsacchi the "soldier saint" who endeavored to save her, and of the old Pope, are by far the most interesting portions of the poem, but the whole of it is remarkable, and it justly takes rank as one of England's greatest poems. With the appearance of this book Browning's genius received adequate recognition in high places. The Athenæum called it "the opus magnum of the generation, not merely beyond all parallel the supremest poetic achievement of the time, but the most precious and profound spiritual treasure that England has possessed since the days of Shakespeare."
The last ten or twelve years of Browning's life were so crowded with interests, occupations, publications, friends, honors, that not even a summary of them can be undertaken here. Mr. Sharp says of this period:
"Everybody wished him to come and dine; and he did his best to gratify Everybody. He saw everything; read all the notable books; kept himself acquainted with the leading contents of the journals and magazines; conducted a large correspondence; read new French, German, and Italian books of mark; read and translated Euripides and Æschylus; knew all the gossip of the literary clubs, the salons, and the studios; was a frequenter of afternoon tea parties; and then, over and above it, he was Browning—the most profoundly subtle mind that has exercised itself in poetry since Shakespeare."
Mr. Henry James in commenting on Browning's rich and ample London period with "its felicities and prosperities of every sort," says that in contemplating "the wonderful Browning ... the accomplished, saturated, sane, sound man of the London world and the world of culture," it was impossible not to believe that "he had arrived somehow, for his own deep purposes, at the enjoyment of a double identity," so dissociated were the poet and the "member of society." Phillips Brooks, who met Browning in England in 1865-6, was impressed by his fullness of life and said he was "very like some of the best of Thackeray's London men." In public and on ordinary social occasions Browning is said to have been frank, charming, friendly—"more agreeable," Mary Anderson said, "than distinguished." With intimate friends, however, the poet had quite another sort of charm. "To a single listener," says Mr. Gosse, with whom he was on familiar terms, "the Browning of his own study was to the Browning of a dinner party as a tiger cat is to a domestic cat. In such conversation his natural strength came out. His talk assumed the volume and the tumult of a cascade. His voice rose to a shout, sank to a whisper, ran up and down the gamut of conversational melody. Those whom he was expecting will never forget his welcome, the loud trumpet-note from the other end of the passage, the talk already in full flood at a distance of twenty feet. Then, in his own study or drawing-room, what he loved was to capture his visitor in a low armchair's 'sofa-lap of leather,' and from a most unfair vantage of height to tyrannize, to walk around the victim, in front, behind, on this side, on that, weaving magic circles, now with gesticulating arms thrown high, now groveling on the floor to find some reference in a folio, talking all the while, a redundant turmoil of thoughts, fancies, and reminiscences flowing from those generous lips."
Elsewhere Mr. Gosse summed up his personal impressions of Mr. Browning, as follows:
"I am bound to tell you that I saw a different Browning from the hero of all the handbooks and 'gospels' which are now in vogue. People are beginning to treat this vehement and honest poet as if he were a sort of Marcus Aurelius and John the Baptist rolled into one. I have just seen a book in which it is proposed that Browning should supersede the Bible, in which it is asserted that a set of his volumes will teach religion better than all the theologies in the world. Well, I did not know that holy monster.... What I saw was an unostentatious, keen, active man of the world, one who never failed to give good practical advice in matters of business and conduct, one who loved his friends and certainly hated his enemies; a man alive in every eager passionate nerve of him; a man who loved to discuss people and affairs, and a bit of a gossip; a bit of a partisan, too, and not without his humorous prejudices. He was simple to a high degree, simple in his scrupulous dress, his loud, happy voice, his insatiable curiosity."
Browning's London life was varied by many summer journeyings to French sea-coast towns, to Wales, and to Scotland. But it was seventeen years after the death of his wife before he could bring himself to revisit Italy. Even then he avoided Florence. He took his sister to Northern Italy; and Asolo and Venice became the towns around which their affections centered. Two American friends, Mrs. Bloomfield-Moore, and Mrs. Arthur Bronson,[6] contributed to the happiness of these Italian sojourns. In 1888 Browning's son, who had married an American girl, bought the Palazzo Rezzonico in Venice, so that Browning had an additional personal reason for his trip to Venice in 1889. He was well, and he took great pleasure in his son's admirably planned restoration of the old Venetian palace. He worked, walked, talked with nearly normal vigor. But a bronchial attack proved more than his weakened heart could withstand, and he died peacefully, almost painlessly, in his son's home on December 12, 1889. On the day of his death his last book, Asolando, was published, so that his brave-hearted "Epilogue" was really his valediction to this and his heroic greeting to another world. He could "greet the unseen with a cheer," because in thought and act he was
One who never turned his back but marched breast forward,
Never doubted clouds would break,
Never dreamed, though right were worsted, wrong would triumph,
Held we fall to rise, are baffled to fight better,
Sleep to wake.
Browning was buried in Westminster Abbey on the last day of the year. The most pathetic element of the imposing ceremonies was the singing of Mrs. Browning's poem, "He Giveth His Beloved Sleep."
THE POETRY OF BROWNING
Before entering upon a discussion of Browning's poetry it will be of interest to note briefly some of the more striking general characteristics of the English literature contemporary with his work. From Pauline to Asolando is over half a century, but as a central and especially significant portion of Browning's career we may take the three decades from 1841, when he began the Bells and Pomegranates series, to 1869, when The Ring and the Book appeared, for these years include all of his dramas and most of the poetry on which his fame rests. A survey of this period at once reveals the predominance of fiction. Within these years come nearly all the novels of Charles Dickens, of William Makepeace Thackeray, of Charlotte Brontë, of Wilkie Collins, of Charles Kingsley, of Mrs. Gaskell, of Anthony Trollope, of George Macdonald, of Charles Reade, much of the work of Bulwer Lytton, all the novels of George Eliot except Middlemarch and Daniel Deronda, and the earliest of George Meredith's books. This is a notable showing. No previous period in English literature had presented anything like so wide a range in fiction or had brought forward so large a number of novels of the first rank. These years were equally rich in essays, including much of Carlyle's work, all of Macaulay's except the early "Essay on Milton," the religious polemics of Frederick Dennison Maurice and John Henry Newman, nearly all of Ruskin's discussions of art and social history, most of Leigh Hunt's literary criticism, and Matthew Arnold's important early critical essays. This, too, is a notable showing. But if we turn to the two realms in which Browning excelled, poetry and drama, we find different conditions. During the central period of his career, there was, aside from his own work, not a single important drama published. The theaters were prosperous, but they brought out only old plays or new ones of inferior rank. In poetry, too, if we set aside the great names of Tennyson and Browning, the period was neither rich nor varied.