Robert Browning

Robert Browning, from a portrait in oil, for which he sat to R.W. Curtis at Venice 1880.

ROBERT BROWNING

BY

EDWARD DOWDEN

LITT.D., D.C.L., LL.D.

PROFESSOR OF ENGLISH LITERATURE IN THE UNIVERSITY OF DUBLIN

1904 LONDON: J.M. DENT & CO. NEW YORK; E.P. DUTTON & CO.

—Balaustion's Adventure.>

Editor's Preface

"In the case of those whom the public has learned to honour and admire, there is a biography of the mind—the phrase is Mr Gladstone's—that is a matter of deep interest." In a life of Robert Browning it is especially true that the biography we want is of this nature, for its events are to be classed rather among achievements of the human spirit than as objective incidents, and its interest depends only in a secondary sense on circumstance or movement in the public eye. The special function of the present book in the growing library of Browning literature is to give such a biography of Browning's mind, associating his poems with their date and origin, as may throw some light on his inward development. Browning has become to many, in a measure which he could hardly have conceived possible himself, one of the authoritative interpreters of the spiritual factors in human life. His tonic optimism dissipates the grey atmosphere of materialism, which has obscured the sunclad heights of life as effectually as a fog. To see life through Browning's eyes is to see it shot through and through

with spiritual issues, with a background of eternal destiny; and to come appreciably nearer than the general consciousness of our time to seeing it steadily and seeing it whole. Those who prize his influence know how to value everything which throws light on the path by which he reached his resolute and confident outlook.

It is almost possible to count on the fingers of one hand the few men who could successfully write a book of this character and scope. The Editor believes that, in the present case, one of the very few has been found who had the qualifications required. Much of the apparent obscurity of Browning is due to his habit of climbing up a precipice of thought, and then kicking away the ladder by which he climbed. Dr Dowden has with singular success readjusted the steps, so that readers may follow the poet's climb. Those who are not daunted by the Paracelsus and Sordello chapter, where the subject requires some close and patient attention, will find vigorous narrative and pellucid exposition interwoven in such a way as to keep them in intimate and constantly closer touch with the "biography of Browning's mind."

D.M.

Preface

An attempt is made in this volume to tell the story of Browning's life, including, as part of it, a notice of his books, which may be regarded as the chief of "his acts and all that he did." I have tried to keep my reader in constant contact with Browning's mind and art, and thus a sense of the growth and development of his genius ought to form itself before the close.

The materials accessible for a biography, apart from Browning's published writings, are not copious. He destroyed many letters; many, no doubt, are in private hands. For some parts of his life I have been able to add little to what Mrs Orr tells. But since her biography of Browning was published a good deal of interesting matter has appeared. The publication of "The Letters of Robert Browning and Elizabeth Barrett Browning" has enabled me to construct a short, close-knit narrative of the incidents that led up to Browning's marriage. From that date until the death of Mrs Browning her "Letters," edited by Mr Kenyon, has been my chief source. My method has not been that of quotation, but the substance of many letters is fused, as far as was possible, into a brief, continuous story. Two privately issued volumes of Browning's letters, edited by Mr T.J. Wise, and Mr Wise's "Browning Bibliography" have been of service to me. Mr Gosse's "Robert Browning, Personalia," Mrs Ritchie's "Tennyson, Ruskin and Browning," the "Life of Tennyson" by his son, Mr Henry James's volumes on W.W. Story,

letters of Dante Rossetti, the diary of Mr W.M. Rossetti, with other writings of his, memoirs, reminiscences or autobiographies of Lady Martin, F.T. Palgrave, Jowett, Sir James Paget, Gavan Duffy, Robert Buchanan, Rudolf Lehmann, W.J. Stillman, T.A. Trollope, Miss F.P. Cobbe, Miss Swanwick, and others have been consulted. And several interesting articles in periodicals, in particular Mrs Arthur Bronson's articles "Browning in Venice" and "Browning in Asolo," have contributed to my narrative. For some information about Browning's father and mother, and his connection with York Street Independent Chapel, I am indebted to Mr F. Herbert Stead, Warden of "The Robert Browning Settlement," Walworth. I thank Messrs Smith, Elder and Co., as representing Mr R. Barrett Browning, for permission to make such quotations as I have ventured to make from copyright letters. I thank the general Editor of this series, the Rev. D. Macfadyen, for kind and valuable suggestions.

My study of Browning's poems is chronological. I recognise the disadvantages of this method, but I also perceive certain advantages. Many years ago in "Studies in Literature" I attempted a general view of Browning's work, and wrote, as long ago as 1867, a careful study of Sordello. What I now write may suffer as well as gain from a familiarity of so many years with his writings. But to make them visible objects to me I have tried to put his poems outside myself, and approach them with a fresh mind. Whether I have failed or partly succeeded I am unable to determine.

The analysis of La Saisiaz appeared—substantially—in the little Magazine of the Home Reading Union, and one or two other short passages are recovered from uncollected articles of mine. I have incorporated in my criticism a short passage from one of my wife's articles on Browning in The Dark Blue Magazine, making such modifications as suited my purpose, and she has contributed a passage to the pages which close this volume.

I had the privilege of some personal acquaintance with Browning, and have several cordial letters of his addressed to my wife and to myself. These I have not thought it right to use.

E.D.

Contents

CHAPTER I

CHILDHOOD AND YOUTH

Ancestry—Parents—Boyhood—Influence of Shelley—Pauline

CHAPTER II

PARACELSUS AND SORDELLO

Visit to Russia—Paracelsus—His failures and attainments—Sordello, a companion poem—Its obscurity—Imaginative qualities—The history of a soul

CHAPTER III

THE MAKER OF PLAYS

New acquaintances—Hatcham—Macready—Strafford—Venice—Bells and Promegranates—A Blot on the 'Scutcheon—Characters of passion—Characters of intellect

CHAPTER IV

THE MAKER OF PLAYS—(continued)

Women of the dramas—Dramatic style—Pippa Passes—Dramatic Lyrics and Romances—Poems of Love and of Art

CHAPTER V

LOVE AND MARRIAGE

First letters to Miss Barrett—Meeting—Progress in friendship—Obstacles—Marriage

CHAPTER VI

EARLY YEARS IN ITALY

Correspondence of R.B. and E.B.B.—Journey to Italy—Pisa—Florence—Vallombrosa—Italian politics—Casa Guidi-Friends—Son born—Death of Browning's mother—Wanderings.

CHAPTER VII

CHRISTMAS EVE AND EASTER DAY

Publication—Movements of Religious Thought—Dissent—Catholicism—Criticism—Difficulties of Christian life—Imaginative power of the poems—In Venice—Paris—England—Paris again—Coup d'état

CHAPTER VIII

FROM 1851 TO 1855

Essay on Shelley—New acquaintances—Milsand—George Sand—London—Casa Guidi—Spiritualism—Mr Sludge the Medium—Baths of Lucca—Rome—London—Tennyson's Maud

CHAPTER IX

MEN AND WOMEN

Rossetti's admiration—Beauty before teaching—The poet behind his poems—Isolated poems—Groups—Poems of love—Poems of Art—Poems of Religion

CHAPTER X

CLOSE OF MRS BROWNING'S LIFE

Paris—Kenyon's death—Legacies—Death of Mr Barrett—Winter in Florence—Havre—Rome—Louis Napoleon—Landor—Siena—Poems before Congress—Rome again—Modelling in Clay—Casa Guidi—Death of Mrs Browning

CHAPTER XI

LONDON: DRAMATIS PERSONAE

Desolation—Return to London—Pornic—Social life—Dramatis Personae—Poems of music—Poems of hope and aspiration—A Death in the Desert—Epilogue—Caliban upon Setebos—Poems of Love

CHAPTER XII

THE RING AND THE BOOK

Holiday excursions—Sainte Marie—Miss Barrett dies—Balliol College and Jowett—Origin of the Ring and the Book—Its Plan—The Persons—Count Guido—Pompilia—Caponsacchi—The Pope—Falsehood subserving truth

CHAPTER XIII

POEMS ON CLASSICAL SUBJECTS

Saint-Aubin—Milsand—Miss Thackeray—Hervé Riel—Miss Egerton-Smith—Summer wanderings—Balaustion's Adventure—Aristophanes' Apology—The Agamemnon

CHAPTER XIV

PROBLEM AND NARRATIVE POEMS

Prince Hohenstiel-Schwangau—Fifine at the Fair—Red Cotton Night-Cap Country—The Inn Album—Pachiarotto and other Poems

CHAPTER XV

SOLITUDE AND SOCIETY

La Saisiaz—Immortality—Two Poets of Croisic—Browning in society—Daily habits—Browning as a talker—Italy—Asolo—Mountain retreats—Mrs Bronson—Venice

CHAPTER XVI

POET AND TEACHER IN OLD AGE

Popularity—Browning Society—Public honours—Dramatic Idyls—Spirit of acquiescence—Jocoseria—Ferishtah's Fancies

CHAPTER XVII

CLOSING WORKS AND DAYS

Parleyings—Asolando—Mrs Bronson—At Asolo—Venice—Death—Place in nineteenth-century poetry

List of Illustrations

ROBERT BROWNING, from a portrait in oil, for which he sat to R.W. Curtis at Venice, 1880, reproduced by kind permission of D.S. Curtis, Esq. (photogravure)

MAIN STREET OF ASOLO, SHOWING BROWNING'S HOUSE, from a drawing by Miss D. Noyes

ELIZABETH BARRETT BROWNING, from a drawing in chalk by Field Talfourd in the National Portrait Gallery

ROBERT BROWNING, from an engraving by J.G. Armytage

THE VIA BOCCA DI LEONE, ROME, IN WHICH THE BROWNINGS STAYED, a photograph

PORTRAIT OF FILIPPO LIPPI, BY HIMSELF, a detail from the fresco in the Cathedral at Prato, from a photograph by Alinari

ANDREA DEL SARTO, from a print after the portrait by himself in the Uffizi Gallery, Florence

PIAZZA DI SAN LORENZO, FLORENCE, WHERE "THE BOOK" WAS FOUND BY BROWNING, from a photograph by Alinari

THE PALAZZO GIUSTINIANI, VENICE, from a drawing by Miss N. Erichsen

SPECIMEN OF BROWNING'S HANDWRITING, from a letter to D.S. Curtis, Esq.

ROBERT BROWNING, from a photograph (photogravure)

THE PALAZZO REZZONICO, VENICE, from a drawing by Miss Katherine Kimball

Childhood and Youth

The ancestry of Robert Browning has been traced[1] to an earlier Robert who lived in the service of Sir John Bankes of Corfe Castle, and died in 1746. His eldest son, Thomas, "was granted a lease for three lives of the little inn, in the little hamlet of East Woodyates and parish of Pentridge, nine miles south-west of Salisbury on the road to Exeter." Robert, born in 1749, the son of this Thomas, and grandfather of the poet, became a clerk in the Bank of England, and rose to be principal in the Bank Stock Office. At the age of twenty-nine he married Margaret Tittle, a lady born in the West Indies and possessed of West Indian property. He is described by Mrs Orr as an able, energetic, and worldly man. He lived until his grandson was twenty-one years old. His first wife was the mother of another Robert, the poet's father, born in 1781. When the boy had reached the age of seven he lost his mother, and five years later his father married again. This younger Robert when a youth desired to become an artist, but such a career was denied to him. He longed for a University

education, and, through the influence of his stepmother, this also was refused. They shipped the young man to St Kitts, purposing that he should oversee the West Indian estate. There, as Browning on the authority of his mother told Miss Barrett, "he conceived such a hatred to the slave-system ... that he relinquished every prospect, supported himself while there in some other capacity, and came back, while yet a boy, to his father's profound astonishment and rage."[2] At the age of twenty-two he obtained a clerkship in the Bank of England, an employment which, his son says, he always detested. Eight years later he married Sarah Anna, daughter of William Wiedemann, a Dundee shipowner, who was the son of a German merchant of Hamburg. The young man's father, on hearing that his son was a suitor to Miss Wiedemann, had waited benevolently on her uncle "to assure him that his niece would be thrown away on a man so evidently born to be hanged."[3] In 1811 the new-married pair settled in Camberwell, and there in a house in Southampton Street Robert

Browning—an only son—was born on May 7, 1812. Two years later (Jan. 7, 1814) his sister, Sarah Anna—an only daughter—known in later years as Sarianna, a form adopted by her father, was born. She survived her brother, dying in Venice on the morning of April 22, 1903.[4]

Robert Browning's father and mother were persons who for their own sakes deserve to be remembered. His father, while efficient in his work in the Bank, was a wide and exact reader of literature, classical as well as modern. We are told by Mrs Orr of his practice of soothing his little boy to sleep "by humming to him an ode of Anacreon," and by Dr Moncure Conway that he was versed in mediaeval legend, and seemed to have known Paracelsus, Faustus, and even Talmudic personages with an intimate familiarity. He wrote verses in excellent couplets of the eighteenth century manner, and strung together fantastic rhymes as a mode of aiding his boy in tasks which tried the memory. He was a dexterous draughtsman, and of his amateur handiwork in portraiture and caricature—sometimes produced, as it were, instinctively, with a result that was unforeseen—much remains to prove his keen eye and his skill with the pencil. Besides the curious books which he eagerly collected, he also gathered together many prints—those of Hogarth especially, and in early states.

He had a singular interest, such as may also be seen in the author of The Ring and the Book, in investigating and elucidating complex criminal cases.[5] He was a lover of athletic sports and never knew ill-health. For the accumulation of riches he had no talent and no desire, but he had a simple wealth of affection which he bestowed generously on his children and his friends. "My father," wrote Browning, "is tender-hearted to a fault.... To all women and children he is chivalrous." "He had," writes Mr W.J. Stillman, who knew Browning's father in Paris in his elder years, "the perpetual juvenility of a blessed child. If to live in the world as if not of it indicates a saintly nature, then Robert Browning the elder was a saint; a serene, untroubled soul, conscious of no moral or theological problem to disturb his serenity, and as gentle as a gentle woman; a man in whom, it seemed to me, no moral conflict could ever have arisen to cloud his frank acceptance of life, as he found it come to him.... His unworldliness had not a flaw."[6] To

Dante Rossetti he appeared, as an old man, "lovable beyond description," with that "submissive yet highly cheerful simplicity of character which often ... appears in the family of a great man, who uses at last what the others have kept for him." He is, Rossetti continues, "a complete oddity—with a real genius for drawing—but caring for nothing in the least except Dutch boors,—fancy, the father of Browning!—and as innocent as a child." Browning himself declared that he had not one artistic taste in common with his father—"in pictures, he goes 'souls away' to Brauwer, Ostade, Teniers ... he would turn from the Sistine Altar-piece to these—in music he desiderates a tune 'that has a story connected with it.'" Yet Browning inherited much from his father, and was ready to acknowledge his gains. In Development, one of the poems of his last volume, he recalls his father's sportive way of teaching him at five years old, with the aid of piled-up chairs and tables—the cat for Helen, and Towzer and Tray as the Atreidai,—the story of the siege of Troy, and, later, his urging

the boy to read the tale "properly told" in the translation of Homer by his favourite poet, Pope. He lived almost to the close of his eighty-fifth year, and if he was at times bewildered by his son's poetry, he came nearer to it in intelligent sympathy as he grew older, and he had for long the satisfaction of enjoying his son's fame.

The attachment of Robert Browning to his mother—"the true type of a Scottish gentlewoman," said Carlyle—was deep and intimate. For him she was, in his own phrase, "a divine woman"; her death in 1849 was to Browning almost an overwhelming blow. She was of a nature finely and delicately strung. Her nervous temperament seems to have been transmitted—robust as he was in many ways—to her son. The love of music, which her Scottish-German father possessed in a high degree, leaping over a generation, reappeared in Robert Browning. His capacity for intimate friendships with animals—spider and toad and lizard—was surely an inheritance from his mother. Mr Stillman received from Browning's sister an account of her mother's unusual power over both wild creatures and household pets. "She could lure the butterflies in the garden to her," which reminds us of Browning's whistling for lizards at Asolo. A fierce bull-dog intractable to all others, to her was docile and obedient. In her domestic ways she was gentle yet energetic. Her piety was deep and pure. Her

husband had been in his earlier years a member of the Anglican communion; she was brought up in the Scottish kirk. Before her marriage she became a member of the Independent congregation, meeting for worship at York Street, Lock's Fields, Walworth, where now stands the Robert Browning Hall. Her husband attached himself to the same congregation; both were teachers in the Sunday School. Mrs Browning kept, until within a few years of her death, a missionary box for contributions to the London Missionary Society. The conditions of membership implied the acceptance of "those views of doctrinal truth which for the sake of distinction are called Calvinistic." Thus over the poet's childhood and youth a religious influence presided; it was not sacerdotal, nor was it ascetic; the boy was in those early days, as he himself declared, "passionately religious." Their excellent pastor was an entirely "unimaginative preacher of the Georgian era," who held fast by the approved method of "three heads and a conclusion." Browning's indifference to the ministrations of Mr

Clayton was not concealed, and on one occasion he received a rebuke in the presence of the congregation. Yet the spirit of religion which surrounded and penetrated him was to remain with him, under all its modifications, to the end. "His face," wrote the Rev. Edward White, "is vividly present to my memory through the sixty years that have intervened. It was the most wonderful face in the whole congregation—pale, somewhat mysterious, and shaded with black, flowing hair, but a face whose expression you remember through a life-time. Scarcely less memorable were the countenances of his father, mother and sister."[7]