English Literature: Its History and Significance for the Life of the English-Speaking World, William J. Long [suggested reading .txt] 📗

entirely ignorant of the good she has done in the world. With one exception, it is the most perfect of all Browning's works. At best it is not easy, nor merely entertaining reading; but it richly repays whatever hours we spend in studying it.

The Ring and the BookThe Ring and the Book is Browning's masterpiece. It is an immense poem, twice as long as Paradise Lost, and longer by some two thousand lines than the Iliad; and before we begin the undoubted task of reading it, we must understand that there is no interesting story or dramatic development to carry us along. In the beginning we have an outline of the story, such as it is--a horrible story of Count Guido's murder of his beautiful young wife; and Browning tells us in detail just when and how he found a book containing the record of the crime and the trial. There the story element ends, and the symbolism of the book begins. The title of the poem is explained by the habit of the old Etruscan goldsmiths who, in making one of their elaborately chased rings, would mix the pure gold with an alloy, in order to harden it. When the ring was finished, acid was poured upon it; and the acid ate out the alloy, leaving the beautiful design in pure gold. Browning purposes to follow the same plan with his literary material, which consists simply of the evidence given at the trial of Guido in Rome, in 1698. He intends to mix a poet's fancy with the crude facts, and create a beautiful and artistic work.

The result of Browning's purpose is a series of monologues, in which the same story is retold nine different times by the different actors in the drama. The count, the young wife, the suspected priest, the lawyers, the Pope who presides at the trial,--each tells the story, and each unconsciously reveals the depths of his own nature in the recital. The most interesting of the characters are Guido, the husband, who changes from bold defiance to abject fear; Caponsacchi, the young priest, who aids the wife in her flight from her brutal husband, and is unjustly accused of false motives; Pompilia, the young wife, one of the noblest characters in literature, fit in all respects to rank with Shakespeare's great heroines; and the Pope, a splendid figure, the strongest of all Browning's masculine characters. When we have read the story, as told by these four different actors, we have the best of the poet's work, and of the most original poem in our language.

Browning and TennysonBrowning's Place and Message. Browning's place in our literature will be better appreciated by comparison with his friend Tennyson, whom we have just studied. In one respect, at least, these poets are in perfect accord. Each finds in love the supreme purpose and meaning of life. In other respects, especially in their methods of approaching the truth, the two men are the exact opposites. Tennyson is first the artist and then the teacher; but with Browning the message is always the important thing, and he is careless, too careless, of the form in which it is expressed. Again, Tennyson is under the influence of the romantic revival, and chooses his subjects daintily; but "all's fish" that comes to Browning's net. He takes comely and ugly subjects with equal pleasure, and aims to show that truth lies hidden in both the evil and the good. This contrast is all the more striking when we remember that Browning's essentially scientific attitude was taken by a man who refused to study science. Tennyson, whose work is always artistic, never studied art, but was devoted to the sciences; while Browning, whose work is seldom artistic in form, thought that art was the most suitable subject for a man's study.

Browning's MessageThe two poets differ even more widely in their respective messages. Tennyson's message reflects the growing order of the age, and is summed up in the word "law." in his view, the individual will must be suppressed; the self must always be subordinate. His resignation is at times almost Oriental in its fatalism, and occasionally it suggests Schopenhauer in its mixture of fate and pessimism. Browning's message, on the other hand, is the triumph of the individual will over all obstacles; the self is not subordinate but supreme. There is nothing Oriental, nothing doubtful, nothing pessimistic in the whole range of his poetry. His is the voice of the Anglo-Saxon, standing up in the face of all obstacles and saying, "I can and I will." He is, therefore, far more radically English than is Tennyson; and it may be for this reason that he is the more studied, and that, while youth delights in Tennyson, manhood is better satisfied with Browning. Because of his invincible will and optimism, Browning is at present regarded as the poet who has spoken the strongest word of faith to an age of doubt. His energy, his cheerful courage, his faith in life and in the development that awaits us beyond the portals of death, are like a bugle-call to good living. This sums up his present influence upon the minds of those who have learned to appreciate him. Of the future we can only say that, both at home and abroad, he seems to be gaining steadily in appreciation as the years go by.

MINOR POETS OF THE VISTORIAN AGE

Elizabeth Barrett. Among the minor poets of the past century Elizabeth Barrett (Mrs. Browning) occupies perhaps the highest place in popular favor. She was born at Coxhoe Hall, near Durham, in 1806; but her childhood and early youth were spent in Herefordshire, among the Malvern Hills made famous by Piers Plowman. In 1835 the Barrett family moved to London, where Elizabeth gained a literary reputation by the publication of The Seraphim and Other Poems (1838). Then illness and the shock caused by the tragic death of her brother, in 1840, placed her frail life in danger, and for six years she was confined to her own room. The innate strength and beauty of her spirit here showed itself strongly in her daily study, her poetry, and especially in her interest in the social problems which sooner or later occupied all the Victorian writers. "My mind to me a kingdom is" might well have been written over the door of the room where this delicate invalid worked and suffered in loneliness and in silence.

In 1844 Miss Barrett published her Poems, which, though somewhat impulsive and overwrought, met with remarkable public favor. Such poems as "The Cry of the Children," which voices the protest of humanity against child labor, appealed tremendously to the readers of the age, and this young woman's fame as a poet temporarily overshadowed that of Tennyson and Browning. Indeed, as late as 1850, when Wordsworth died, she was seriously considered for the position of poet laureate, which was finally given to Tennyson. A reference to Browning, in "Lady Geraldine's Courtship," is supposed to have first led the poet to write to Miss Barrett in 1845. Soon afterwards he visited the invalid; they fell in love almost at first sight, and the following year, against the wishes of her father,--who was evidently a selfish old tyrant,--Browning carried her off and married her. The exquisite romance of their love is reflected in Mrs. Browning's Sonnets from the Portuguese (1850). This is a noble and inspiring book of love poems; and Stedman regards the opening sonnet, "I thought once how Theocritus had sung," as equal to any in our language.

For fifteen years the Brownings lived an ideally happy life at Pisa, and at Casa Guidi, Florence, sharing the same poetical ambitions. And love was the greatest thing in the world,--

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise;
I love thee with the passion put to use
In my old griefs, and with my childhood's faith;
I love thee with a love I seemed to lose
With my lost saints--I love thee with the breath,
Smiles, tears, of all my life!--and, if God choose,
I shall but love thee better after death.

Mrs. Browning entered with whole-souled enthusiasm into the aspirations of Italy in its struggle against the tyranny of Austria; and her Casa Guidi Windows (1851) is a combination of poetry and politics, both, it must be confessed, a little too emotional. In 1856 she published Aurora Leigh, a novel in verse, having for its hero a young social reformer, and for its heroine a young woman, poetical and enthusiastic, who strongly suggests Elizabeth Barrett herself. It emphasizes in verse precisely the same moral and social ideals which Dickens and George Eliot were proclaiming in all their novels. Her last two volumes were Poems before Congress (1860), and Last Poems, published after her death. She died suddenly in 1861 and was buried in Florence. Browning's famous line, "O lyric love, half angel and half bird," may well apply to her frail life and aerial spirit.

Illustration: MRS. BROWNING
MRS. BROWNING

Rossetti. Dante Gabriel Rossetti (1828-1882), the son of an exiled Italian painter and scholar, was distinguished both as a painter and as a poet. He was a leader in the Pre-Raphaelite movement[238] and published in the first numbers of The Germ his "Hand and Soul," a delicate prose study, and his famous "The Blessed Damozel," beginning,

The blessed damozel leaned out
    From the gold bar of Heaven;
Her eyes were deeper than the depth
    Of waters stilled at even;
She had three lilies in her hand,
    And the stars in her hair were seven.

These two early works, especially "The Blessed Damozel," with its simplicity and exquisite spiritual quality, are characteristic of the ideals of the Pre-Raphaelites.

In 1860, after a long engagement, Rossetti married Elizabeth Siddal, a delicate, beautiful English girl, whom he has immortalized both in his pictures and in his poetry. She died two years later, and Rossetti never entirely recovered from the shock. At her burial he placed in her coffin the manuscripts of all his unpublished poems, and only at the persistent demands of his friends did he allow them to be exhumed and printed in 1870. The publication of this volume of love poems created a sensation in literary circles, and Rossetti was hailed as one of the greatest of living poets. In 1881 he published his Ballads and Sonnets, a remarkable volume containing, among other poems, "The Confession," modeled after Browning; "The Ballad of Sister Helen," founded on a mediæval superstition; "The King's Tragedy," a masterpiece of dramatic narrative; and "The House of Life," a collection of one hundred and one sonnets reflecting the poet's love and loss. This last collection deserves to rank with Mrs. Browning's Sonnets from the Portuguese and with Shakespeare's Sonnets, as one of the three great cycles of love poems in our language. It has been well said that both Rossetti and Morris paint pictures as well in their poems as on their canvases, and this pictorial quality of their verse is its chief characteristic.

Morris. William Morris (1834-1896) is a most interesting combination of literary man and artist. In the latter capacity, as architect, designer, and manufacturer of furniture, carpets, and wall paper, and as founder of the Kelmscott Press for artistic printing and bookbinding, he has laid us all under an immense debt of gratitude. From boyhood he had steeped himself in the legends and ideals of the Middle Ages, and his best literary work is wholly mediæval in spirit. The Earthly Paradise (1868-1870) is generally regarded as his masterpiece. This delightful collection of stories in verse tells of a roving band of Vikings, who are wrecked on the fabled island of Atlantis, and who discover there