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and pictures of wild passionate grief, like "Rizpah"; the latter is notable for "Romney's Remorse," a wonderful piece of work; "Merlin and The Gleam," which expresses the poet's lifelong ideal; and several exquisite little songs, like "The Throstle," and "The Oak," which show how marvelously the aged poet retained his youthful freshness and inspiration. Here certainly is variety enough to give us long years of literary enjoyment; and we need hardly mention miscellaneous poems, like "The Brook" and "The Charge of the Light Brigade," which are known to every schoolboy; and "Wages" and "The Higher Pantheism," which should be read by every man who thinks about the old, old problem of life and death.

Characteristics of Tennyson's Poetry. If we attempt to sum up the quality of Tennyson, as shown in all these works, the task is a difficult one; but three things stand out more or less plainly. First, Tennyson is essentially the artist. No other in his age studied the art of poetry so constantly or with such singleness of purpose; and only Swinburne rivals him in melody and the perfect finish of his verse. Second, like all the great writers of his age, he is emphatically a teacher, often a leader. In the preceding age, as the result of the turmoil produced by the French Revolution, lawlessness was more or less common, and individuality was the rule in literature. Tennyson's theme, so characteristic of his age, is the reign of order,--of law in the physical world, producing evolution, and of law in the spiritual world, working out the perfect man. In Memoriam, Idylls of the King, The Princess,-here are three widely different poems; yet the theme of each, so far as poetry is a kind of spiritual philosophy and weighs its words before it utters them, is the orderly development of law in the natural and in the spiritual world.

Tennyson's MessageThis certainly is a new doctrine in poetry, but the message does not end here. Law implies a source, a method, an object. Tennyson, after facing his doubts honestly and manfully, finds law even in the sorrows and losses of humanity. He gives this law an infinite and personal source, and finds the supreme purpose of all law to be a revelation of divine love. All earthly love, therefore, becomes an image of the heavenly. What first perhaps attracted readers to Tennyson, as to Shakespeare, was the character of his women,--pure, gentle, refined beings, whom we must revere as our Anglo-Saxon forefathers revered the women they loved. Like Browning, the poet had loved one good woman supremely, and her love made clear the meaning of all life. The message goes one step farther. Because law and love are in the world, faith is the only reasonable attitude toward life and death, even though we understand them not. Such, in a few words, seems to be Tennyson's whole message and philosophy.

If we attempt now to fix Tennyson's permanent place in literature, as the result of his life and work, we must apply to him the same test that we applied to Milton and Wordsworth, and, indeed, to all our great poets, and ask with the German critics, "What new thing has he said to the world or even to his own country?" The answer is, frankly, that we do not yet know surely; that we are still too near Tennyson to judge him impersonally. This much, however, is clear. In a marvelously complex age, and amid a hundred great men, he was regarded as a leader. For a full half century he was the voice of England, loved and honored as a man and a poet, not simply by a few discerning critics, but by a whole people that do not easily give their allegiance to any one man. And that, for the present, is Tennyson's sufficient eulogy.

ROBERT BROWNING (1812-1889)

How good is man's life, the mere living! how fit to employ
All the heart and the soul and the senses for ever in joy!

In this new song of David, from Browning's Saul, we have a suggestion of the astonishing vigor and hope that characterize all the works of Browning, the one poet of the age who, after thirty years of continuous work, was finally recognized and placed beside Tennyson, and whom future ages may judge to be a greater poet,--perhaps, even, the greatest in our literature since Shakespeare.

The chief difficulty in reading Browning is the obscurity of his style, which the critics of half a century ago held up to ridicule. Their attitude towards the poet's early work may be inferred from Tennyson's humorous criticism of Sordello. It may be remembered that the first line of this obscure poem is, "Who will may hear Sordello's story told"; and that the last line is, "Who would has heard Sordello's story told." Tennyson remarked that these were the only lines in the whole poem that he understood, and that they were evidently both lies. If we attempt to explain this obscurity, which puzzled Tennyson and many less friendly critics, we find that it has many sources. First, the poet's thought is often obscure, or else so extremely subtle that language expresses it imperfectly,--

Thoughts hardly to be packed
Into a narrow act,
Fancies that broke through language and escaped.
{9510}

Browning's ObscuritySecond, Browning is led from one thing to another by his own mental associations, and forgets that the reader's associations may be of an entirely different kind. Third, Browning is careless in his English, and frequently clips his speech, giving us a series of ejaculations. As we do not quite understand his processes of thought, we must stop between the ejaculations to trace out the connections. Fourth, Browning's, allusions are often far-fetched, referring to some odd scrap of information which he has picked up in his wide reading, and the ordinary reader finds it difficult to trace and understand them. Finally, Browning wrote too much and revised too Little. The time which he should have given to making one thought clear was used in expressing other thoughts that flitted through his head like a flock of swallows. His field was the individual soul, never exactly alike in any two men, and he sought to express the hidden motives and principles which govern individual action. In this field he is like a miner delving underground, sending up masses of mingled earth and ore; and the reader must sift all this material to separate the gold from the dross.

Illustration: Robert Browning
Robert Browning

Here, certainly, are sufficient reasons for Browning's obscurity; and we must add the word that the fault seems unpardonable, for the simple reason that Browning shows himself capable, at times, of writing directly, melodiously, and with noble simplicity.

Browning as a teacherSo much for the faults, which must be faced and overlooked before one finds the treasure that is hidden in Browning's poetry. Of all the poets in our literature, no other is so completely, so consciously, so magnificently a teacher of men. He feels his mission of faith and courage in a world of doubt and timidity. For thirty years he faced indifference or ridicule, working bravely and cheerfully the while, until he made the world recognize and follow him. The spirit of his whole life is well expressed in his Paracelsus, written when he was only twenty-two years old:

I see my way as birds their trackless way.
I shall arrive,--what time, what circuit first,
I ask not; but unless God send his hail
Or blinding fire-balls, sleet or stifling snow,
In some time, his good time, I shall arrive;
He guides me and the bird. In his good time.

He is not, like so many others, an entertaining poet. One cannot read him after dinner, or when settled in a comfortable easy-chair. One must sit up, and think, and be alert when he reads Browning. If we accept these conditions, we shall probably find that Browning is the most stimulating poet in our language. His influence upon our life is positive and tremendous. His strength, his joy of life, his robust faith, and his invincible optimism enter into us, making us different and better men after reading him. And perhaps the best thing he can say of Browning is that his thought is slowly but surely taking possession of all well-educated men and women.

Life. Browning's father was outwardly a business man, a clerk for fifty years in the Bank of England; inwardly he was an interesting combination of the scholar and the artist, with the best tastes of both. His mother was a sensitive, musical woman, evidently very lovely in character, the daughter of a German shipowner and merchant who had settled in Scotland. She was of Celtic descent, and Carlyle describes her as the true type of a Scottish gentlewoman. From his neck down, Browning was the typical Briton,--short, stocky, large-chested, robust; but even in the lifeless portrait his face changes as we view it from different angles. Now it is like an English business man, now like a German scientist, and now it has a curious suggestion of Uncle Remus,--these being, no doubt, so many different reflections of his mixed and unremembered ancestors.

He was born in Camberwell, on the outskirts of London, in 1812. From his home and from his first school, at Peckham, he could see London; and the city lights by night and the smoky chimneys by day had the same powerful fascination for the child that the woods and fields and the beautiful country had for his friend Tennyson. His schooling was short and desultory, his education being attended to by private tutors and by his father, who left the boy largely to follow his own inclination. Like the young Milton, Browning was fond of music, and in many of his poems, especially in "Abt Vogler" and "A Toccata of Galuppi's," he interprets the musical temperament better, perhaps, than any other writer in our literature. But unlike Milton, through whose poetry there runs a great melody, music seems to have had no consistent effect upon his verse, which is often so jarring that one must wonder how a musical ear could have endured it.

Like Tennyson, this boy found his work very early, and for fifty years hardly a week passed that he did not write poetry. He began at six to produce verses, in imitation of Byron; but fortunately this early work has been lost. Then he fell under the influence of Shelley, and his first known work, Pauline (1833), must be considered as a tribute to Shelley and his poetry. Tennyson's earliest work, Poems by Two Brothers, had been published and well paid for, five years before; but Browning could find no publisher who would even consider Pauline, and the work was published by means of money furnished by an indulgent relative. This poem received scant notice from the reviewers, who had pounced like hawks on a dovecote upon Tennyson's first two modest volumes. Two years later appeared Paracelsus, and then his tragedy Strafford was put upon the stage; but not till Sordello was published, in 1840, did he attract attention enough to be denounced for the obscurity and vagaries of his style. Six years later, in 1846, he suddenly became famous, not because he finished in that year his Bells and Pomegranates (which is Browning's symbolic name for "poetry and thought" or "singing and sermonizing"), but because he eloped with the best known literary woman in England, Elizabeth Barrett, whose fame was for many years, both before and after her marriage, much greater than Browning's, and who was at first considered superior to Tennyson. Thereafter, until his own work compelled attention, he was known chiefly as the man who married Elizabeth Barrett. For years this lady had been an almost helpless invalid, and it seemed a quixotic thing when Browning, having failed to gain her family's consent to the marriage, carried her off romantically. Love and Italy proved better than her physicians, and for fifteen years Browning and his wife lived an ideally happy life in

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