drops off at death, while the spiritual body emerges in glorious resurrection at once. Swedenborg says some people do not immediately realize that they have passed death, which seems to me highly probable. It is curious that Frederick Denison Maurice takes this precise view of the resurrection, with apparent unconsciousness of what Swedenborg has stated, and that I, too, long before I had ever read Swedenborg, or had even heard the name of Maurice, came to the same conclusion.... I believe in an active, human life, beyond death, as before it, an uninterrupted life.” Mrs. Browning would have found herself in harmony with that spiritual genius, Dr. William James, who said: “And if our needs outrun the visible universe, why may not that be a sign that the invisible universe is there? Often our faith in an uncertified result is the only thing that makes the result come true.” Faith is the divine vision, and no one ever more absolutely realized this truth than Elizabeth Browning.
“Ah, blessed vision! blood of God! My spirit beats her mortal bars, As down dark tides the glory slides, And star-like mingles with the stars.”
At another time Mrs. Browning remarked that she should fear for a revealed religion incapable of expansion, according to the needs of man; while Dr. James has said, “Believe what is in the line of your needs.” Many similarities of expression reveal to how wonderful a degree Mrs. Browning had intuitively grasped phases of truth that became the recognized philosophy of a succeeding generation, and which were stamped by the brilliant and profound genius of William James, the greatest psychologist of the nineteenth century. “What comes from God has life in it,” said Mrs. Browning, “and certainly from the growth of all living things, spiritual growth cannot be excepted.”
The summer passed “among our own nightingales and fireflies,” playfully said Mrs. Browning, and in the autumn Mrs. Sartoris stopped to see them, on her way to Rome, “singing passionately and talking eloquently.”
Notwithstanding some illness, Mrs. Browning completed four thousand lines of “Aurora Leigh” before the new year of 1855, in which were expressed all her largest philosophic thought, and her deepest insight into the problems of life. Fogazzaro, whose recent death has deprived Italy of her greatest literary inspirer since Carducci, said of “Aurora Leigh” that he wished the youth of Italy might study this great poem,—“those who desire poetic fame that they might gain a high conception of poetry; the weak, in that they might find stimulus for strength; the sad and discouraged, in that they might find comfort and encouragement.” It was this eminent Italian novelist and Senator (the King of Italy naming a man as Senator, not in the least because of any political reasons, but to confer on him the honor of recognition of his genius in Literature, Science, or Art, and a very inconvenient, however highly prized, honor he often finds it),—Senator Antonio Fogazzaro, who contributed, to an Italian biography[7] of the Brownings by Fanny Zampini, Contessa Salazar, an “Introduction” which is a notable piece of critical appreciation of the wedded poets from the Italian standpoint. The Senator records himself as believing that few poets can be read “with so much intellectual pleasure and spiritual good; for if the works of Robert and Elizabeth Browning surprise us by the vigorous originality of their thought,” he continues, “they also show us a rare and salutary spectacle,—two souls as great in their moral character as in their poetic imagination. ‘Aurora Leigh’ I esteem Mrs. Browning’s masterpiece.... The ideal poet is a prophet, inspired by God to proclaim eternal truth....”
The student of Italian literature will find a number of critical appreciations of the Brownings, written within the past forty or fifty years, some of which offer no little interest. “Every man has two countries, his own and Italy,” and the land they had made their own in love and devotion returned this devotion in measure overflowing.
Robert and Elizabeth Browning would have been great,—even immortally great, as man and woman, if they had not been great poets. They both lived, in a simple, natural way, the essential life of the spirit, the life of scholarship and noble culture, of the profound significance of thought, of creative energy, of wide interest in all the important movements of the day, and of beautiful and sincere friendships.
“O life, O poetry,
Which means life in life,”
wrote Mrs. Browning.
The character of Mrs. Browning has been so often portrayed as that of some abnormal being, half-nervous invalid, half-angel, as if she were a special creation of nature with no particular relation to the great active world of men and women, that it is quite time to do away with the category of nonsense and literary hallucination. One does not become less than woman by being more. Mrs. Browning fulfilled every sweetest relation in life as daughter, sister, friend, wife, and mother; and her life was not the less normal in that it was one of exceptional power and exaltation. She saw in Art the most potent factor for high service, and she held that it existed for Love’s sake, for the sake of human co-operation with the purposes of God.
CHAPTER VIII
1855-1861
“Inward evermore
To outward,—so in life, and so in art
Which still is life.”
“... I love thee with the breath,
Smiles, tears, of all my life!—and, if God choose,
I shall but love thee better after death.”
London Life—An Interlude in Paris—“Aurora Leigh”—Florentine Days—“Men and Women”—The Hawthornes—“The Old Yellow Book”—A Summer in Normandy—The Eternal City—The Storys and Other Friends—Lilies of Florence—“It is Beautiful!”
The Florentine winter is by no means an uninterrupted dream of sunshine and roses; the tramontana sweeps down from the encircling Apennines, with its peculiarly piercing cold that penetrates the entire system with the unerring precision of the Röentgen ray; torrents of icy rains fall; and the purple hills, on whose crest St. Domenico met St. Benedict, are shrouded in clouds and mist. All the loveliness of Florence seems to be utterly effaced, till one questions if it existed except as a mirage; but when the storm ceases, and the sun shines again, there is an instantaneous transformation. In a moment, in the twinkling of an eye, the spell of enchantment resumes its sway over the Flower Town, and all is forgiven and forgotten.
The winter of 1855 was bitterly cold, and by January the Brownings fairly barricaded themselves in two rooms which could best be heated, and in these fires were kept up by day as well as night. In April, however, the divine days came again, and the green hillslope from the Palazzo Pitti to the Boboli Gardens was gay with flowers. Mr. Browning gave four hours every day to dictating his poems to a friend who was transcribing them for him. Mrs. Browning had completed some seven thousand lines of “Aurora Leigh,” but not one of these had yet been copied for publication. Various hindrances beset them, but finally in June they left for England, their most important impedimenta being sixteen thousand lines of poetry, almost equally divided between them, comprising his manuscript for “Men and Women,” and hers for “Aurora Leigh,” complete, save for the last three books. The change was by no means unalloyed joy. To give up, even temporarily, their “dream-life of Florence,” leaving the old tapestries and pre-Giotto pictures, for London lodgings, was not exhilarating; but after a week in Paris they found themselves in an apartment in No. 13 Dorset Street, Manchester Square, where they remained until October, every hour filled with engagements or work. Proof-sheets were coming in at all hours; likewise friends, with the usual contingent of the “devastators
