ELIZABETH BARRETT BROWNING

Mrs. Browning was a great poet, and not, as is idly and vulgarly supposed, only a great poetess. The word poetess is bad English, and it conveys a particularly bad compliment. Nothing is more remarkable about Mrs. Browning's work than the absence of that trite and namby-pamby elegance which the last two centuries demanded from lady writers. Wherever her verse is bad, it is bad from some extravagance of imagery, some violence of comparison, some kind of debauch of cleverness. Her nonsense never arises from weakness, but from a confusion of powers. If the phrase explain itself, she is far more a great poet than she is a good one.

Mrs. Browning often appears more luscious and sentimental than many other literary women, but this was because she was stronger. It requires a certain amount of internal force to break down. A complete self-humiliation requires enormous strength, more strength than most of us possess. When she was writing the poetry of self-abandonment she really abandoned herself with the valour and decision of an anchorite abandoning the world. Such a couplet as

Our Euripides, the human, With his dropping of warm tears.

gives to most of us a sickly and nauseous sensation. Nothing can be well conceived more ridiculous than Euripides going about dropping tears with a loud splash, and Mrs. Browning coming after him with a thermometer. But the one emphatic point about this idiotic couplet is that Mrs. Hemans would never have written it. She would have written something perfectly dignified, perfectly harmless, perfectly inconsiderable. Mrs. Browning was in a great and serious difficulty. She really meant something. She aimed at a vivid and curious image, and she missed it. She had that catastrophic and public failure which is as much as a medal or a testimonial, the badge of the brave.

In spite of the tiresome half-truth that art is unmoral, the arts require a certain considerable number of moral qualities, and more especially all the arts require courage. The art of drawing, for example, requires even a kind of physical courage. Any one who has tried to draw a straight line and failed knows that he fails chiefly in nerve, as he might fail to jump off a cliff. And similarly all great literary art involves the element of risk, and the greatest literary artists have commonly been those who have run the greatest risk of talking nonsense. Almost all great poets rant, from Shakespeare downwards. Mrs. Browning was Elizabethan in her luxuriance and her audacity, and the gigantic scale of her wit. We often feel with her as we feel with Shakespeare, that she would have done better with half as much talent. The great curse of the Elizabethans is upon her, that she cannot leave anything alone, she cannot write a single line without a conceit:

And the eyes of the peacock fans Winked at the alien glory,

she said of the Papal fans in the presence of the Italian tricolour.

And a royal blood sends glances up her princely eye to trouble. And the shadow of a monarch's crown is softened in her hair,

is her description of a beautiful and aristocratic lady. The notion of peacock feathers winking like so many London urchins is perhaps one of her rather aggressive and outrageous figures of speech. The image of a woman's hair as the softened shadow of a crown is a singularly vivid and perfect one. But both have the same quality of intellectual fancy and intellectual concentration. They are both instances of a sort of ethereal epigram. This is the great and dominant characteristic of Mrs. Browning, that she was significant alike in failure and success. Just as every marriage in the world, good or bad, is a marriage, dramatic, irrevocable, and big with coming events, so every one of her wild weddings between alien ideas is an accomplished fact which produces a certain effect on the imagination, which has for good or evil become part and parcel of our mental vision for ever. She gives the reader the impression that she never declined a fancy, just as some gentlemen of the eighteenth century never declined a duel. When she fell it was always because she missed the foothold, never because she funked the leap.

"Casa Guidi Windows" is, in one aspect, a poem very typical of its author. Mrs. Browning may fairly be called the peculiar poet of Liberalism, of that great movement of the first half of the nineteenth century towards the emancipation of men from ancient institutions which had gradually changed their nature, from the houses of refuge which had turned into dungeons, and the mystic jewels which remained only as letters. It was not what we ordinarily understand by revolt. It had no hatred in its heart for ancient and essentially human institutions. It had that deeply conservative belief in the most ancient of institutions, the average man, which goes by the name of democracy. Their ideal, like the ideal of all sensible people, was a chaotic and confused notion of goodness made up of English primroses and Greek statues, birds singing in April, and regiments being cut to pieces for a flag. They were neither Radicals nor Socialists, but Liberals, and a liberal is a noble and indispensable lunatic who tries to make a cosmos of his own head.

Mrs. Browning and her husband were more liberal than most Liberals. Theirs was the hospitality of the intellect and the hospitality of the heart, which is the best definition of the term. They never fell into the habit of the idle revolutionists of supposing that the past was bad because the future was good, which amounted to asserting that because humanity had never made anything but mistakes it was now quite certain to be right. Browning possessed in a greater degree than any other man the power of realising that all conventions were only victorious revolutions. He could follow the medieval logicians in all their sowing of the wind and reaping of the whirlwind with all that generous ardour which is due to abstract ideas. He could study the ancients with the young eyes of the Renaissance and read a Greek grammar like a book of love lyrics. This immense and almost confounding Liberalism of Browning doubtless had some effect upon his wife. In her vision of New Italy she went back to the image of Ancient Italy like an honest and true revolutionist; for all true revolutions are reversions to the natural and the normal. A revolutionist who breaks with the past is a notion fit for an idiot. For how could a man even wish for something which he had never heard of? Mrs. Browning's inexhaustible sympathy with all the ancient and essential passions of humanity was nowhere more in evidence than in her conception of patriotism. For some dark reason, which it is difficult indeed to fathom, belief in patriotism in our day is held to mean principally a belief in every other nation abandoning its patriotic feelings. In the case of no other passion does this weird contradiction exist. Men whose lives are mainly based upon friendship sympathise with the friendships of others. The interest of engaged couples in each other is a proverb, and like many other proverbs sometimes a nuisance. In patriotism alone it is considered correct just now to assume that the sentiment does not exist in other people. It was not so with the great Liberals of Mrs. Browning's time. The Brownings had, so to speak, a disembodied talent for patriotism. They loved England and they loved Italy; yet they were the very reverse of cosmopolitans. They loved the two countries as countries, not as arbitrary divisions of the globe. They had hold of the root and essence of patriotism. They knew how certain flowers and birds and rivers pass into the mills of the brain and come out as wars and discoveries, and how some triumphant adventure or some staggering crime wrought in a remote continent may bear about it the colour of an Italian city or the soul of a silent village of Surrey.