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Browning's poems of the love of man and woman are seldom a simple lyrical cry, but they are not on this account the less true in their presentment of that curious masquer and disguiser—Love. When love takes possession of a nature which is complex, affluents and tributaries from many and various faculties run into the main stream. With Browning the passion is indeed a regal power, but intellect, imagination, fancy are its office-bearers for a time; then in a moment it resumes all authority into its own hands, resolves of a sudden all that is complex into the singleness of joy or pain, fuses all that is manifold into the unity of its own life and being. His dramatic method requires that each single faculty should be seen in the environment of a character, and that its operations should be clothed more or less in circumstance. And since love has its ingenuities, its fine-spun and far-flung threads of association, its occult symbolisms, Browning knows how to press into the service of the central emotion objects and incidents and imagery which may seem remote or curious or fantastic or trivial or even grotesque. In Rudel to the Lady of Tripoli love which cometh by the hearing of the ear (for Rudel is a sun-worshipper who has never seen his sun) is a pure imaginative devotion to the ideal. In Count Gismond love is the deliverer; the motive of the poem is essentially that of the Perseus and Andromeda myth refined upon and mediaevalised. In Cristine love is the interpreter of life; a moment of high passion explains, and explains away, all else that would obscure the vision of what is best and most real in this our world and in the worlds that are yet unattained. From a few lines written to illustrate a Venetian picture by Maclise In a Gondola was evolved. If Browning was not entirely accurate in his topography of Venice, he certainly did not fail in his sense of the depth and opulence of its colour. Here the abandonment to passion is relieved by the quaint ingenuities and fancies of love that seeks a momentary refuge from its own excess, and then returns more eagerly upon itself; and the shadow of death is ever at hand, but like the shadows of a Venetian painter it glows with colour.

The motives of two narrative poems, The Glove and The Flight of the Duchess, have much in common; they lie in the contrast between the world of convention and the world of reality. In each the insulter of proprieties, the breaker of bounds is a woman; in each the choice lies between a life of pretended love and vain dignities and a life of freedom and true love; and in each case the woman makes her glad escape from what is false to what is true. In restating the incident of the glove Browning brings into play his casuistry, but casuistry is here used to justify a passion which the poet approves, to elucidate, not to obscure, what he represents as the truth of the situation. The Flight of the Duchess in part took its rise "from a line, 'Following the Queen of the Gipsies, O!'—the burden of a song, which the poet, when a boy, heard a woman singing on a Guy Fawkes' day." Some two hundred lines were given to Hood for his magazine, at a time when Hood needed help, and death was approaching him. The poem was completed some months later. It is written, like The Glove, in verse that runs for swiftness' sake, and that is pleased to show its paces on a road rough with boulder-like rhymes. The little Duchess is a wild bird caged in the strangely twisted wirework of artificial modes and forms. She is a prisoner who is starved for real life, and stifles; the fresh air and the open sky are good, are irresistible—and that is the whole long poem in brief. Such a small prisoner, all life and fire, was before many months actually delivered from her cage in Wimpole Street, and Robert Browning himself, growing in stature amid his incantations, played the part of the gipsy.

Another Duchess, who pined for freedom and never attained it, has her cold obituary notice from her bereaved Duke's lips in the Dramatic Lyrics of 1842. My Last Duchess was there made a companion poem to Count Gismond; they are the pictures of the bond-woman and of the freed-woman in marriage. The Italian Duchess revolts from the law of wifehood no further than a misplaced smile or a faint half-flush, betraying her inward breathings and beamings of the spirit; the noose of the ducal proprieties is around her throat, and when it tightens "then all smiles stopped together." Never was an agony hinted with more gentlemanly reserve. But the poem is remarkable chiefly as gathering up into a typical representative a whole phase of civilisation. The Duke is Italian of Renaissance days; insensible in his egoistic pride to the beautiful humanity alive before him; yet a connoisseur of art to his finger-tips; and after all a Duchess can be replaced, while the bronze of Glaus of Innsbruck—but the glory of his possessions must not be pressed, as though his nine hundred years old name were not enough. The true gift of art—Browning in later poems frequently insists upon this—is not for the connoisseur or collector who rests in a material possession, but for the artist who, in the zeal of creation, presses through his own work to that unattainable beauty, that flying joy which exists beyond his grasp and for ever lures him forward. In Pictor Ignotus the earliest study in his lives of the painters was made by the poet. The world is gross, its touch unsanctifies the sanctities of art; yet the brave audacity of genius is able to penetrate this gross world with spiritual fire. Browning's unknown painter is a delicate spirit, who dares not mingle his soul with the gross world; he has failed for lack of a robust faith, a strenuous courage. But his failure is beautiful and pathetic, and for a time at least his Virgin, Babe, and Saint will smile from the cloister wall with their "cold, calm, beautiful regard." And yet to have done otherwise to have been other than this; to have striven like that youth—the Urbinate—men praise so! More remarkable, as the summary of a civilisation, than My Last Duchess, is the address of the worldling Bishop, who lies dying, to the "nephews" who are sons of his loins. In its Paganism of Christianity—which lacks all the manly virtue of genuine Paganism—that portion of the artistic Renaissance which leans towards the world and the flesh is concentrated and is given as in quintessential form. The feeble fingers yet cling to the vanities of earth; the speaker babbles not of green fields but of his blue lump of lapis-lazuli; and the last word of all is alive only with senile luxury and the malice of perishing recollection.

Chapter V
Love and Marriage

In 1841, John Kenyon, formerly a school-fellow of Browning's father, now an elderly lover of literature and of literary society, childless, wealthy, generous-hearted, proposed to Browning that he should call upon Elizabeth Barrett, Kenyon's cousin once removed, who was already distinguished as a writer of ardent and original verse. Browning consented, but the poetess "through some blind dislike of seeing strangers"—as she afterwards told a correspondent—declined, alleging, not untruly, as a ground of refusal, that she was then ailing in health.³⁵ Three years later Kenyon sent his cousin's new volumes of Poems as a gift to Sarianna Browning; her brother, lately returned from Italy, read these volumes with delight and admiration, and found on one of the pages a reference in verse to his "Pomegranates" of a kind that could not but give him a vivid moment of pleasure. Might he not relieve his sense of obligation by telling Miss Barrett, in a letter, that he admired her work? Mr Kenyon encouraged the suggestion, and though to love and be silent might on the whole have been more to Browning's liking, he wrote—January 10, 1845—and writing truthfully he wrote enthusiastically.³⁶ Miss Barrett, never quite recovered from a riding accident in early girlhood, and stricken down for long in both soul and body by the shock of her brother's death by drowning, lay from day to day and month to month, in an upper room of her father's house in Wimpole Street, occupied, upon her sofa, with her books and papers—her Greek dramatists and her Elizabethan poets—shut out from the world, with windows for ever closed, and with only an occasional female visitor, to gossip of the social and literary life of London. Never was a spirit of more vivid fire enclosed within a tomb. The letter from Browning, "the author of Paracelsus and King of the mystics," threw her, she says, "into ecstasics." Her reply has a thrill of pleasure running through its graceful half-restraint, and she holds out a hope that when spring shall arrive a meeting in the invalid chamber between her and her new correspondent may be possible.

From the first a headlong yet delicate speed was in her pen; from the first there was much to say. "Oh, for a horse with wings!" Mr Browning, who had praised her poems, must tell her their faults. He must himself speak out in noble verse, not merely utter himself through the masks of dramatis personae. Can she, as he alleges, really help him by her sympathy, by her counsel? Let him put ceremony aside and treat her en bon camerade; he will find her "an honest man on the whole." She intends to set about knowing him as much as possible immediately. What poets have been his literary sponsors? Are not the critics wrong to deny contemporary genius? What poems are those now in his portfolio? Is not Æschylus the divinest of divine Greek spirits? but how inadequately her correspondent has spoken of Dante! Shall they indeed—as he suggests—write something together? And then—is he duly careful of his health, careful against overwork? And is not gladness a duty? to give back to the world the joy that God has given to his poet? Though, indeed, to lean out of the window of this House of Life is for some the required, perhaps the happiest attitude.

And why—replies the second voice—lean out of the window? His own foot is only on the stair. Where are the faults of her poems, of which she had inquired? Yes, he will speak out, and he is now planning such a poem as she demands. But she it is, who has indeed spoken out in her verse? In his portfolio is a drama about a Moor of Othello's country, one Luria, with strange entanglings among his Florentines. See this, and this, how grandly it is said in the Greek of Eschylus! But Dante, all Dante is in his heart and head. And he has seen Tennyson face to face; and he knows and loves Carlyle; and he has visited Sorrento and trod upon Monte Calvano. Oh, the world in this year 1845 must be studied, though solitude is best. He has been "polking" all night, and walked home while the morning thrushes piped; and it is true that his head aches. She shall read and amend his manuscript poems. To hear from her is better than to see anybody else. But when shall he see her too?

So proceed from January to May the letters of Rudel and the still invisible Lady of Wimpole Street. It was happy comradeship on her part, but on his it was already love. His spirit had recognised, had touched, a spirit, which included all that he most needed, and union with which would be the most certain and substantial prize offered by life. There was nothing fatuous in this inward assurance; it was the simplest and most self-evidencing truth. The word "mistrustful"—"do not see me as long as you are mistrustful of"—with its implied appeal to her generous confidence, precipitated the visit. How could she be mistrustful? Of course he may come: but the wish to do so was unwisely exorbitant. On the afternoon of May 20th, 1845, Browning first set eyes on his future wife, a little figure, which did not rise from the sofa, pale ringleted face, great eager, wistfully pathetic eyes. He believed that she was suffering from some incurable disease of the spine, and that whatever remained to her of life must be spent in this prostrate manner of an invalid.

A movement of what can only be imperfectly described as pity entered into his feeling for her: it was less pity than the joy of believing that he could confer as well as receive. But his first thought on leaving was only the fear that he might have stayed too long or might have spoken too loud. The visit was on Tuesday. On Thursday, Browning wrote the only letter of the correspondence which has been destroyed, one which overflowed with gratitude, and was immediately and rightly interpreted by the receiver as tending towards an offer, implied here, but not expressed, of marriage. It was read in pain and agitation; her heart indeed, but not her will, was shaken; and, after a sleepless night, she wrote words effective to bar—as she believed—all further advance in a direction fatal to his happiness. The intemperate things he had said must be wholly forgotten between them; or else she will not see him again; friends, comrades in the life of the intellect they might continue to be. For once and once only Browning lied to Miss Barrett, and he lied a little awkwardly; his letter was only one of too boisterous gratitude; his punishment—that of one infinitely her inferior—was undeserved; let her return to him the offending letter. Returned accordingly it was, and immediately destroyed by the writer. In happier days, Miss Barrett hoped to recover what then would have been added to a hoard which she treasured; but, Browning could not preserve the words which she had condemned.

Wise guardian-angels smile at each other, gently and graciously, when a lover is commanded to withdraw and to reappear in the character of a friend. An incoming tide may seem for a while to pause; but by and by we look and the rock is covered. Browning very dutifully submitted and became a literary counsellor and comrade. The first stadium in the progress of his fortunes opened in January and closed before the end of May; the second closed at the end of August. To a friend Miss Barrett, assured that he never could be more, might well be generous; visits were permitted, and it was left to Browning to fix the days; the postal shuttle threw swift and swifter threads between New Cross, Hatcham, and 50 Wimpole Street. The verse of Tennyson, the novels of George Sand were discussed; her translations from the Greek were considered; his manuscript poems were left for her corrections; but transcription must not weary him into headaches; she would herself by and by act as an amanuensis. Each of the correspondents could not rest happy until the other had been proved to be in every intellectual and moral quality the superior. Browning's praise could not be withheld; it seemed to his friend—and she wrote always with crystalline sincerity—to be an illusion which humbled her. Glad memories of Italy, sad memories of England and the invalid life were exchanged; there is nothing that she can teach him—she declares—except grief. And yet to him the day of his visit is his light through the dark week. He is like an Eastern Jew who creeps through alleys in the meanest garb, destitute to all wayfarers' eyes, who yet possesses a hidden palace-hall of marble and gold. Even in matters ecclesiastical, the footsteps of the two friends had moved with one consent; each of them preferred a chapel to a church; each was Puritan in a love of simplicity in the things of religion; each disowned the Puritan narrowness, and the grey aridity of certain schools of dissent. On June 14—with the warranty of her published poem which had told of flowers sent in a letter—Browning encloses in his envelope a yellow rose; and again and again summer flowers arrive bringing colour and sweetness into the dim city room. Once Miss Barrett can report that she has been out of doors, and with no fainting-fit, yet unable to venture in the carriage as far as the Park; still her bodily strength is no better than that of a tired bird; she is moreover, years older than her friend (the difference was in fact that between thirty-nine and thirty-three); and the thunder of a July storm has shaken her nerves. There is some thought of her seeking health as far off as Malta or even Alexandria; but her father will jestingly have it that there is nothing wrong with her except "obstinacy and dry toast." Thus cordially, gladly, sadly, and always with quick leapings of the indomitable flame of the spirit, these letters of friend to friend run on during the midsummer days. Browning was willing and happy to wait; a confidence possessed him that in the end he would be known fully and aright.

On August 25th came a great outpouring of feeling from Miss Barrett. She took her friend so far into her confidence as to speak plainly of the household difficulties caused by her father's autocratic temper. The conversation was immediately followed by a letter in which she endeavoured to soften or qualify the impression her words had given, and her heart, now astir and craving sympathy, led her on to write of her most sorrowful and sacred memories—those connected with her brother's death. Browning was deeply moved, most grateful for her trust in him, but she had forbidden him to notice the record of her grief. He longed to return confidence with confidence, to tell what was urgent in his heart. But the bar of three months since had not been removed, and he hesitated to speak. His two days' silence was unintelligible to his friend and caused her inexpressible anxiety. Could any words of hers have displeased him? Or was he seriously unwell? She wrote on August 30th a little letter asking "the alms of just one line" to relieve her fears. When snow-wreaths are loosened, a breath will bring down the avalanche. It was impossible to receive this appeal and not to declare briefly, decisively, his unqualified trust in her, his entire devotion, his assured knowledge of what would constitute his supreme happiness.

Miss Barrett's reply is perfect in its disinterested safe-guarding of his freedom and his future good as she conceived it. She is deeply grateful, but she cannot allow him to empty his water-gourds into the sand. What could she give that it would not be ungenerous to give? Yet his part has not been altogether the harder of the two. The subject must be left. Such subjects, however, could not be left until the facts were ascertained. Browning would not urge her a step beyond her actual feelings, but he must know whether her refusal was based solely on her view of his supposed interests. And with the true delicacy of frankness she admits that even the sense of her own unworthiness is not the insuperable obstacle. No—but is she not a confirmed invalid? She thought that she had done living when he came and sought her out. If he would be wise, all these thoughts of her must be abandoned. Such an answer brought a great calm to Browning's heart; he did not desire to press her further; let things rest; it is for her to judge; if what she regards as an obstacle should be removed, she will certainly then act in his best interests; to himself this matter of health creates no difficulty; to sit by her for an hour a day, to write out what was in him for the world, and so to save his soul, would be to attain his ideal in life. What woman would not be moved to the inmost depths by such words? She insists that his noble extravagances must in no wise bind him; but all the bitternesses of life have been taken away from her; henceforth she is his for everything except to do him harm; the future rests with God and with him. And amid the letters containing these grave sentences, so full of fate, first appears a reference to the pet name of her childhood—the "Ba" which is all that here serves, like Swift's "little language," to indulge a foolish tenderness; and the translator of Prometheus is able to put Greek characters to their most delightful use in her "ω φιλτατε."

In love-poetry of the Middle Age the allegorical personage named "Danger" plays a considerable part, and it is to be feared that Danger too often signified a husband. In Wimpole Street that alarming personage always meant a father. Edward Moulton Barrett was a man of integrity in business, of fortitude in adversity, of a certain stern piety, and from the superior position of a domestic autocrat he could even indulge himself in occasional fiats of affection. We need not question that there were springs of water in the rock, and in earlier days they had flowed freely. But now if at night he visited his ailing daughter's room for a few minutes and prayed with her and for her, it meant that on such an occasion she was not too criminal to merit the pious intercession. If he called her "puss," it meant that she had not recently been an undutiful child of thirty-nine or forty years old. A circus-trainer probably rewards his educated dogs and horses with like amiable familiarities, and he is probably regarded by his troupe with affection mingled with awe. Mr Barrett had been appointed circus-trainer by the divine authority of parentage. No one visited 50 Wimpole Street, where there were grown-up sons as well as daughters, without special permission from the lord of the castle; he authorised the visits of Mr Browning, the poet, being fondly assured that Mr Browning's intentions were not those of a burglar, or—worse—an amorous knight-errant. If any daughter of his conceived the possibility of transferring her prime love and loyalty from himself to another, she was even as Aholah and Aholibah who doted upon the Assyrians, captains, and rulers clothed most gorgeously, all of them desirable young men. "If a prince of Eldorado" said Elizabeth Barrett to her sister Arabel, "should come with a pedigree of lineal descent from some signory in the moon in one hand, and a ticket of good behaviour from the nearest Independent chapel in the other—" "Why, even then," interrupted Arabel, "it would not do" One admirable trait, however, Mr Moulton Barrett did possess—he was nearly always away from home till six o'clock.

The design that Miss Barrett should winter abroad was still under consideration, but the place now fixed upon was Pisa. Suddenly, in mid-September, she finds herself obliged to announce that "it is all over with Pisa." Her father had vetoed the undutiful project, and had ceased to pay her his evening visits; only in his separate and private orisons were all her sins remembered. To admit the fact that he did not love her enough to give her a chance of recovery was bitter, yet it could not be denied. Her life was now a thing of value to herself, for it was precious to another. She beat against the bars of her cage; planned a rebellious flight; made inquiries respecting ships and berths; but she could not travel alone; and she would not subject either of her sisters to the heavy displeasure of the ruler of the house. Robert Browning held strong opinions on the duty of resisting evil, and if evil assume the guise of parental authority it is none the less—he believed—to be resisted. To submit to the will of another is often easy; to act on one's own best judgment is hard; our faculties were given us to put to use; to be passively obedient is really to evade probation—so with almost excessive emphasis Browning set forth a cardinal article of his creed; but Elizabeth Barrett was not, like him, "ever a fighter," and, after all, London in 1845 was not bleak and grey as it had been a year previously—"for reasons," to adopt a reiterated word of the correspondence, "for reasons."

On two later occasions Browning sang the same battle-hymn against the enemies of God and with a little too much vehemence—not to say truculence—as is the way with earnest believers. His gentler correspondent could not tolerate the thought of duelling, and she disapproved of punishment by death. Browning argues that for one who values the good opinion of society—not for himself—that good opinion is a possession which may, like other possessions, be defended at the risk of a man's life, and as for capital punishment, is not evil to be suppressed at any price? Is not a miscreant to be expelled out of God's world? The difference of opinion was the first that had arisen between the friends, and Browning's words carried with them a certain sense of pain in the thought that they could in any thing stand apart. Happily the theoretical fire-eater had faith superior to his own arguments;—faith in a woman's insight as finer than his own;—and he is let off with a gratified rebuke for preternatural submissiveness and for arraying her in pontifical garments of authority which hang loose upon so small a figure. The other application of his doctrine of resisting evil was even more trying to her feelings and the preacher was instant certainly out of season. Not the least important personage in the Wimpole Street house was Miss Barrett's devoted companion Flush. Loyal and loving to his mistress Flushie always was; yet to his lot some canine errors fell; he eyed a visitor's umbrella with suspicion; he resented perhaps the presence of a rival; he did not behave nicely to a poet who had not written verses in his honour; for which he was duly rebuked by his mistress—the punishment was not capital—and was propitiated with bags of cakes by the intruder. When the day for their flight drew near Miss Barrett proposed somewhat timidly that her maid Wilson should accompany her to Italy, but she was gratefully confident that Flush could not be left behind. Just at this anxious moment a dreadful thing befell; a gang of dog-stealers, presided over by the arch-fiend Taylor, bore Flushie away into the horror of some obscure and vulgar London alley. He was a difficult dog to capture and his ransom must be in proportion to his resistance. There was a terrible tradition of a lady who had haggled about the sum demanded and had received her dog's head in a parcel. Miss Barrett was eager to part with her six guineas and rescue her faithful companion from misery. Was this an occasion for preaching from ethical heights the sin of making a composition with evil-doers? Yet Browning, still "a fighter" and armed with desperate logic, must needs declaim vehemently against the iniquity of such a bargain. It is something to rejoice at that he was dexterously worsted in argument, being compelled to admit that if Italian banditti were to carry off his "Ba," he would pay down every farthing he might have in the world to recover her, and this before he entered on that chase of fifty years which was not to terminate until he had shot down with his own hand the receiver of the infamous bribe.

The journey of Miss Barrett to Pisa having been for the present abandoned, friendship, now acknowledged to be more than friendship, resumed its accustomed ways. Visits, it was agreed, were not to be too frequent—three in each fortnight might prudently be ventured; but Wednesday might have to be exchanged for Thursday or Saturday for Monday, if on the first elected day Miss Mitford—dear and generous friend—threatened to come with her talk, talk, talk, or Mrs Jameson with her drawings and art-criticism, or some unknown lion-huntress who had thrown her toils, or kindly Mr Kenyon, who knew of Browning's visits, and who when he called would peer through his all-scrutinising spectacles with an air of excessive penetration or too extreme unconsciousness. And there were times—later on—when an avalanche of aunts and uncles would precipitate itself on Wimpole Street—perspicacious aunts and amiable uncles who were wished as far off as Seringapatam, and who wrung from an impatient niece—to whom indeed they were dear—the cry "The barbarians are upon us." Miss Barrett's sisters, the gentle Henrietta, who preferred a waltz to the best sermon of an Independent minister, and the more serious Arabel, who preferred the sermon of an Independent minister to the best waltz, were informed of the actual state of affairs. They were trustworthy and sympathetic; Henrietta had special reasons of her own for sympathy; Captain Surtees Cook, who afterwards became her husband, might be discussing affairs with her in the drawing-room at the same time that Mr Browning the poet—"the man of the pomegranates" as he was named by Mr Barrett—held converse on literature with Elizabeth in the upper chamber. The household was honeycombed with treasons.

For the humours of superficial situations and passing incidents Miss Barrett had a lively sense, and she found some relief in playing with them; but with a nature essentially truthful like hers the necessity of concealment was a cause of distress. The position was no less painful to Browning, and in the end it became intolerable. Yet while there were obstructions and winding ways in the shallows, in the depths were flawless truth and inviolable love. What sentimental persons fancy and grow effusive over was here the simplest and yet always a miraculous reality—"He of the heavens and earth brought us together so wonderfully, holding two souls in his hand."³⁷ In the most illuminating words of each correspondent no merely private, or peculiar feeling is expressed; it is the common wave of human passion, the common love of man and woman, that here leaps from the depths to the height, and over which the iris of beauty ever and anon appears with—it is true—an unusual intensity. And so in reading the letters we have no sense of prying into secrets; there are no secrets to be discovered; what is most intimate is most common; only here what is most common rises up to its highest point of attainment. "I never thought of being happy through you or by you or in you even, your good was all my idea of good, and is" "Let me be too near to be seen.... Once I used to be more uneasy, and to think that I ought to make you see me. But Love is better than sight." "I love your love too much. And that is the worst fault, my beloved, I can ever find in my love of you." These are sentences that tell of what can be no private possession, being as liberal and free as our light and air. And if the shadow of a cloud appears—appears and passes away—it is a shadow that has floated over many other hearts beside that of the writer: "How dreadfully natural it would be to me, seem to me, if you did leave off loving me! How it would be like the sun's setting … and no more wonder. Only, more darkness." The old exchange of tokens, the old symbolisms—a lock of hair, a ring, a picture, a child's penholder—are good enough for these lovers, as they had been for others before them. What is diffused through many of the letters is gathered up and is delivered from the alloy of superficial circumstance in the "Sonnets from the Portuguese." in reading which we are in the presence of womanhood—womanhood delivered from death by love and from darkness by; light—as much as in that of an individual woman. And the disclosure in poems and in letters being without reserve affects us as no disclosure, but simply as an adequate expression of the truth universal.