Robert Browning. Edward Dowden
Browning's puppets are indeed too often in his earlier poems moved by intellectual wires; the hands are the hands of Luria or Djabal, but the voice is the showman's voice. A certain intemperance in the pursuit of poetic beauty, strange and lovely imagery which obscures rather than interprets, may be regarded as in Pauline the fault or the glory of youth; a young heir arrived at his inheritance will scatter gold pieces. The verse has caught something of its affluent flow, its wavelike career, wave advancing upon wave, from Shelley:
'Tis he, I ken the manner of his gait;
He rises on the toe; that spirit of his
In aspiration lifts him from the earth.
The aspiration in Browning's later verse is a complex of many forces; here it is a simple poetic enthusiasm.
By virtue of its central theme Pauline is closely related to the poems which at no great distance followed—Paracelsus and Sordello. Each is a study of the flaws which bring genius to all but ruin, a study of the erroneous conduct of life by men of extraordinary powers. In each poem the chief personage aspires and fails, yet rises—for Browning was not of the temper to accept ultimate failures, and postulated a heaven to warrant his optimistic creed—rises at the close from failure to a spiritual recovery, which may be regarded as attainment, but an attainment, as far as earth and its uses are concerned, marred and piteous; he recovers in the end his true direction, but recovers it only for service in worlds other than ours which he may hereafter traverse. He has been seduced or conquered by alien forces and through some inward flaw; he has been faithless to his highest faculties; he has not fulfilled his seeming destiny; yet before death and the darkness of death arrive, light has come; he perceives the wanderings of the way, and in one supreme hour or in one shining moment he gives indefeasible pledges of the loyalty which he has forfeited. Shelley in Alastor, the influence of which on Browning in writing Pauline is evident, had rebuked the idealist within himself, who would live in lofty abstractions to the loss of human sympathy and human love. Browning in Pauline also recognises this danger, but he indicates others—the risk of the lower faculties of the mind encroaching upon and even displacing the higher, the risk of the spirit of aggrandisement, even in the world of the imagination, obtaining the mastery over the spirit of surrender to that which is higher than self. It is quite right and needful to speak of the "lesson" of Browning's poem, and the lesson of Pauline is designed to inculcate first loyalty to a man's highest power, and secondly a worshipping loyalty and service to that which transcends himself, named by the speaker in Pauline by the old and simple name of God.
Was it the problem of his own life—that concerning the conduct of high, intellectual and spiritual powers—which Browning transferred to his art, creating personages other than himself to be exponents of his theme? We cannot tell; but the problem in varied forms persists from poem to poem. The poet imagined as twenty years of age, who makes his fragment of a confession in Pauline, is more than a poet; he is rather of the Sordello type than of the type represented in Eglamor and Aprile.13 Through his imagination he would comprehend and possess all forms of life, of beauty, of joy in nature and in humanity; but he must also feel himself at the centre of these, the lord and master of his own perceptions and creations; and yet, at the same time, this man is made for the worship and service of a power higher than self. How is such a nature as this to attain its true ends? What are its special dangers? If he content himself with the exercise of the subordinate faculties, intellectual dexterity, wit, social charm and mastery, he is lost; if he should place himself at the summit, and cease to worship and to love, he is lost. He cannot alter his own nature; he cannot ever renounce his intense consciousness of self, nor even the claim of self to a certain supremacy as the centre of its own sympathies and imaginings. So much is inevitable, and is right. But if he be true to his calling as poet, he will task his noblest faculty, will live in it, and none the less look upward, in love, in humility, in the spirit of loyal service, in the spirit of glad aspiration, to that Power which leans above him and has set him his earthly task.
Such reduced to a colourless and abstract statement is the theme dealt with in Pauline. The young poet, who, through a fading autumn evening, lies upon his death-bed, has been faithless to his high calling, and yet never wholly faithless. As the pallid light declines, he studies his own soul, he reviews his past, he traces his wanderings from the way, and all has become clear. He has failed for the uses of earth; but he recognises in himself capacities and desires for which no adequate scope could ever have been found in this life; and restored to the spirit of love, of trust, by such love, such trust as he can give Pauline, he cannot deny the witnessing audible within his own heart to a future life which may redeem the balance of his temporal loss. The thought which plays so large a part in Browning's later poetry is already present and potent here.
Two incidents in the history of a soul—studied by the speaker under the wavering lights of his hectic malady and fluctuating moods of passion—are dealt with in a singularly interesting and original way. He describes, with strange and beautiful imagery, the cynical, bitter pleasure—few of us do not know it—which the intellectual faculties sometimes derive from mocking and drawing down to their own level the spiritual powers, the intuitive powers, which are higher than they, higher, yet less capable of justification or verification by the common tests of sense and understanding. The witchcraft of the brain degrades the god in us:
And then I was a young witch whose blue eyes,
As she stood naked by the river springs,
Drew down a god: I watched his radiant form
Growing less radiant, and it gladdened me.
What he presents with such intensity of imaginative power Browning must have known—even if it were but for moments—by experience. And again, there is impressive truth and originality in the description of the state of the poet's mind which succeeded the wreck of his early faith and early hopes inspired by the voice of Shelley—the revolutionary faith in liberty, equality and human perfectibility. Wordsworth in The Prelude—unpublished when Browning wrote Pauline—which is also the history of a poet's mind, has described his own experience of the loss of all these shining hopes and lofty abstractions, and the temper of mind which he describes is one of moral chaos and spiritual despair. The poet of Pauline turns from political and social abstractions to real life, and the touch of reality awakens him as if from a splendid dream; but his mood is not so sane as that of despair. He falls back, with a certain joy, upon the exercise of his inferior powers; he wakes suddenly and "without heart-wreck ":
First went my hopes of perfecting mankind,
Next—faith in them, and then in freedom's self
And virtue's self, then my own motives, ends,
And aims and loves, and human love went last.
I felt this no decay, because new powers
Rose as old feelings left—wit, mockery,
Light-heartedness; for I had oft been sad,
Mistrusting my resolves, but now I cast
Hope joyously away; I laughed and said
"No more of this!"
It is difficult to believe that Browning is wholly dramatic here; we seem to discover something of that period of Sturm und Drang, when his mood grew restless and aggressive. The homage paid to Shelley, whose higher influence Browning already perceived to be in large measure independent of his creed of revolution, has in it certainly something of the spirit of autobiography. In this enthusiastic admiration for Shelley there is nothing to regret, except the unhappy extravagance of the name "Suntreader," which he invented as a title for the poet of Alastor and Prometheus Unbound.
The attention of Mr W.J. Fox, a Unitarian minister of note, had been directed to Browning's early unpublished verse by Miss Flower. In the Monthly Repository (April 1833) which he then edited, Mr Fox wrote of Pauline with admiration, and Browning was duly grateful for this earliest public recognition of his genius as a poet. In the Athenaeum Allen Cunningham made an effort to be appreciative and sympathetic. John Stuart Mill desired to be the reviewer of Pauline in Taifs
"V.A. xx," following the quotation from Cornelius Agrippa means "Vixi annos xx,"