the perfect aspiration.
“All I aspired to be
And was not—comforts me.”
In the unfaltering search for the Divine Ideal is the true reward.
“One great aim, like a guiding star, above—
Which tasks strength, wisdom, stateliness, to lift
His manhood to the height that takes the prize.”
Browning conceived and presented the organic idea and ideal of life, in its fullness, its intensity, as perhaps few poets have ever done. He would almost place a positive sin above a negative virtue. To live intensely, even if it be sinfully, was to Browning’s vision to be on the upward way, rather than to be in a state of negative good. The spirit of man is its own witness of the presence of God. Life cannot be truly lived in any fantastic isolation.
“Just when we’re safest, there’s a sunset touch,
A fancy from a flower-bell, some one’s death,
A chorus ending from Euripides.”
With Browning, as with Spinoza, there is an impatience, too, with the perpetual references to death, and they both constantly turn to the everlasting truth of life. “It is this harping on death that I despise so much,” exclaimed Browning, in the later years of his life, in a conversation with a friend. “In fiction, in poetry, in art, in literature this shadow of death, call it what you will,—despair, negation, indifference,—is upon us. But what fools who talk thus!... Why, death is life, just as our daily momentarily dying body is none the less alive, and ever recruiting new forces of existence. Without death, which is our word for change, for growth, there could be no prolongation of that which we call life.”
After the completion of “Christmas Eve and Easter Day,” Mrs. Browning questioned her husband about the apparent asceticism of the second part of the poem, and he replied that he meant it to show only one side of the matter. “Don’t think,” she wrote to a friend, “that Robert has taken to the cilix,—indeed he has not, but it is his way to see things as passionately as other people feel them.”
Browning teaches in this poem that faith is an adventure of the spirit, the aspiration felt, even if unnamed. But as to renunciation,—
“‘Renounce the world!’—Ah, were it done By merely cutting one by one Your limbs off, with your wise head last, How easy were it!”
The renunciation that the poet sees is not so simple. It is not to put aside all the allurements of life, but to use them nobly; to persist in the life of the spirit, to offer love for hatred, truth for falsehood, generous self-sacrifice rather than to grasp advantages,—to live, not to forsake the common daily lot. It is, indeed, the philosophy amplified that is found in the words of Jesus, “I pray not that Thou shouldest take them out of the world, but that thou shouldest keep them from the evil.”
The Brownings remained till late in the summer in their Casa Guidi home, detained at first by the illness of Mrs. Browning, after which they decided to postpone going to England until another year. In the late summer they went for a few weeks to Siena, where, two miles outside the walls, they found a seven-roomed villa with a garden and vineyard and olive orchard, and “a magnificent view of a noble sweep of country, undulating hills and verdure, and on one side the great Maremma extending to the foot of the Roman mountains.” They were located on a little hill called Poggia dei venti, with all the winds of the heavens, indeed, blowing about them, and with overflowing quantities of milk and bread and wine, and a loggia at the top of the villa. Mrs. Browning found herself rapidly recovering strength, and their comfort was further extended by finding a library in Siena, where, for three francs a month, they had access to the limited store of books which seem so luxurious in Italy. The boy Browning was delighted with his new surroundings, his sole infelicity being his inability to reach the grapes clustering over the trellises; he missed the Austrian band that made music (or noise) for his delectation in Florence, although to compensate for this privation he himself sang louder than ever. In after years Mr. Browning laughingly related this anecdote of his son’s childhood: “I was one day playing a delicate piece of Chopin’s on the piano, and hearing a loud noise outside, hastily stopped playing when my little boy ran in, and my wife exclaimed: ‘How could you leave off playing when Penini brought three drums to accompany you?’”
For all this bloom and beauty in Siena they paid a little less than fifteen francs a week. Soon after their arrival they learned of the shipwreck in which the Marchese and Marchesa d’Ossoli and the little Angelino all perished, and the tragedy deeply impressed Mrs. Browning. “The work that the Marchesa was preparing upon Italy would have been more equal to her faculties than anything she has ever produced,” said Mrs. Browning, “her other writings being curiously inferior to the impression made by her conversation.”
Before returning to Florence the Brownings passed a week in the town of Siena to visit the pictures and churches, but they found it pathetic to leave the villa, and especially harrowing to their sensibilities to part with the pig. There is consolation, however, for most mortal sorrows, and the Brownings found it in their intense interest in Sienese art. The wonderful pulpit of the Duomo, the work of Niccola Pisano; the font of San Giovanni; the Sodomas, and the Libreria (the work of Pius III, which he built when he was Cardinal, and in which, at the end of the aisle, is a picture of his own elevation to the Papal throne, painted after his death) fascinated their attention. The Brownings found it dazzling to enter this interior, all gold and color, with the most resplendent decorative effects. They followed in the footsteps of Saint Catherine, as do all pilgrims to Siena, and climbed the hill to the Oratorio di Santa Caterina in Fontebranda, and read that inscription: “Here she stood and touched that precious vessel and gift of God, blessed Catherine, who in her life did so many miracles.” They lingered, too, in the Cappella Santa Caterina in San Domenico, where Catherine habitually prayed, where she beheld visions and received her mystic revelations. They loitered in the piazza, watching the stars hang over that aerial tower, “Il Mangia,” and drove to San Gimignano, with its picturesque medieval atmosphere.
Cathedral of Santa Maria del Fiore, Florence,
known as the Duomo.
“The most to praise and the best to see Was the startling bell-tower Giotto raised.”
Old Pictures in Florence.
It was in the autumn of 1850 that Tennyson’s “In Memoriam,” first privately and then anonymously printed, was acknowledged by the poet. The Brownings read extracts from it in the Examiner, and they were deeply moved by it. “Oh, there’s a poet!” wrote Mrs. Browning. At last, “by a sort of miracle,” they obtained a copy, and Mrs. Browning was carried away with its exquisite touch, its truth and earnestness. “The book has gone to my heart and soul,” she says, “I think it full of deep pathos and beauty.”
An interesting visitor dropped in at Casa Guidi in the person of a grandson of Goethe; and his mission to Florence, to meet the author of “Paracelsus” and discuss with him the character of the poem, was a tribute to its power. Mrs. Browning, whose poetic ideals were so high, writing to a friend of their guest, rambled on into some allusions to poetic art, and expressed her opinion that all poets should take care to teach the world that poetry is a divine thing. “Rather perish every verse I ever wrote, for one,” she said, “than help to drag down an inch that standard of poetry which, for the sake of humanity as well as literature, should be kept high.”
In “Aurora
