The Complete Works of Robert Browning: Poems, Plays, Letters & Biographies in One Edition. Robert Browning
a tragic chord,” she replies; “indeed I did not. As to ‘escaping with my life,’ it was just a phrase ... for the rest I am essentially better ... and feel as if it were intended for me to live and not to die.” And referring to a passage relating to Prometheus she asks: “And tell me, if Æschylus is not the divinest of all the divine Greek souls?” She continues:
“But to go back to the view of Life with the blind Hopes; you are not to think—whatever I may have written or implied—that I lean either to the philosophy or affectation which beholds the world through darkness instead of light ... and after a course of bitter mental discipline and long bodily seclusion I come out with two lessons learned—the wisdom of cheerfulness and the duty of social intercourse. Anguish has instructed me in joy, and solitude in society.... What we call life is a condition of the soul, and the soul must improve in happiness and wisdom, except by its own fault.... And I do like to hear testimonies like yours, to happiness, and I feel it to be a testimony of a higher sort than the obvious one.... Remember, that as you owe your unscathed joy to God, you should pay it back to His world. I thank you for some of it already.”
And she feels how kind he is,—how gently and kindly he speaks to her. In his next letter he alludes with much feeling to her idea of the poem-novel:
“The Poem you propose to make; the fresh, fearless, living work you describe, is the only Poem to be undertaken now by you or any one who is a poet at all; the only reality, only effective piece of service to be rendered God or man; it is what I have been all my life intending to do, and now shall be much nearer doing since you will be along with me. And you can do it, I know and am sure,—so sure that I could find it in my heart to be jealous of your stopping on the way even to translate the Prometheus....”
The lovers, for such they already are, however unconsciously to both, fall into a long discussion of Prometheus, and the Greek drama in general, and in another letter, with allusion to his begging her to take her own good time in writing, she half playfully proffers that it is her own bad time to which she must submit. “This implacable weather!” she writes; “this east wind that seems to blow through the sun and the moon!... There will be a May and June if we live to see such things,” and then she speaks of seeing him besides, and while she recognizes it is morbid to shrink and grow pale in the spirit, yet not all her fine philosophy about social duties quite carries her through. But “if he thinks she shall not like to see him, he is wrong, for all his learning.” What pathos of revelation of this brave, celestial spirit, tenanting the most fragile of bodies, is read in the ensuing passage:
“What you say of society draws me on to many comparative thoughts of your life and mine. You seem to have drunken of the cup of life full with the sun shining on it. I have lived only inwardly, or with sorrow for a strong emotion. Before this seclusion of my illness I was secluded still, and there are few of the youngest women in the world who have not seen more, known more, of society, than I, who am hardly to be called young now. I grew up in the country, had no social opportunities, had my heart in books and poetry, and my experience in reveries.... Books and dreams were what I lived in—and domestic life seemed to buzz gently around, like the bees about the grass.... Why, if I live on and escape this seclusion, do you not perceive that I labor under signal disadvantages, that I am, in a manner, a blind poet?... I have had much of the inner life ... but how willingly would I exchange some of this ponderous, helpless knowledge of books for some experience of life.... But grumbling is a vile thing, and we should all thank God for our measures of life, and think them enough.... Like to write? Of course, of course I do. I seem to live while I write—it is life for me. Why, what is it to live? Not to eat and drink and breathe,—but to feel the life in you down all the fibers of being, passionately and joyfully....
“Ah, you tempt me with a grand vision of Prometheus!... I am inclined to think that we want new forms.... The old gods are dethroned. Why should we go back to the antique moulds? If it is a necessity of Art to do this, then those critics are right who hold that Art is exhausted.... I do not believe this; and I believe the so-called necessity of Art to be the mere feebleness of the artist. Let us all aspire rather to Life.... For there is poetry everywhere....”
Miss Barrett writes to him, continuing the discussion of poetry as an Art, that she does not want “material as material, but that every life requires a full experience,” and she has a profound conviction that a poet is at a lamentable disadvantage if he has been shut from most of the outer aspects of life. And he, replying, deprecates a little the outward life for a poet, with amusing references to a novel of D’Israeli’s, where, “lo, dinner is done, and Vivian Grey is here, and Violet Fane there, and a detachment of the party is drafted off to catch butterflies.” But still he partly agrees, and feels that her Danish novel (“The Improvisatore”) must be full of truth and beauty, and “that a Dane should write so, confirms me in a belief that Italy is stuff for the use of the North and no more—pure Poetry there is none, as near as possible none, in Dante, even;... and Alfieri,... with a life of travel, writes you some fifteen tragedies as colorless as salad grown under a garden glass....” But she—if she asks questions about novels it is because she wants to see him by the refracted lights, as well as by the direct ones; and Dante’s poetry—“only material for northern rhymers?” She must think of that before she agrees with him.
As for Browning, he bids her remember that he writes letters to no one but her; but there is never enough of telling her.... And she, noting his sitting up in the morning till six, and sleeping only till nine, wants to know “how ‘Lurias’ can be made out of such ungodly imprudences? And what is the reasonableness of it,” she questions, “when we all know that thinking, dreaming, creative people, like yourself, have two lives to bear instead of one, and therefore ought to sleep more than others”; and he is anticipating the day when he shall see her with his own eyes, and now a day is named on which he will call, and he begs her not to mind his coming in the least, for if she does not feel able to see him he will come again, and again, as his time is of no importance.
It was on the afternoon of May 20 (1845) that Robert Browning and Elizabeth Barrett first met, and of them it could almost have been said, in words ascribed to Michael Angelo for Vittoria Colonna,—
“We are the only two, that, face to face,
Do know each other, as God doth know us both.”
It is said that the first letter of Browning’s to her after this meeting is the only one destroyed of all this wonderful correspondence; and this was such a letter as could only be interpreted into a desire for marriage, which she, all tender thoughtfulness always for others, characteristically felt would be fatal to his happiness because of her invalid state. He begged her to return the letter, and he then destroyed it; and again pleaded that their friendship and intellectual comradeship should continue. “Your friendship and sympathy will be dear and precious to me all my life, if you indeed leave them with me so long, or so little,” she writes; and she utterly forbids any further expression or she must do this “to be in my own eyes and before God a little more worthy, or a little less unworthy, of a generosity....” And he discreetly veils his ardors for the time, and the wonderful letters run on.
Monument to Michael Angelo, by Vasari
church of santa croce.
“They are safe in heaven.... The Michaels and Rafaels....” Old Pictures in Florence.
He is writing “The Flight of the Duchess,” and sending it to her by installments; she finds it “past speaking of,” and she also refers to “exquisite pages” of Landor’s in the “Pentameron.” And poems which he has left with her,—she must have her own gladness from them in her own way. And did he go to Chelsea, and hear the divine philosophy?
Apparently he did, for he writes:
“Yes, I went to Chelsea and found dear Carlyle alone—his wife is in the country where he will join her as soon as the book’s last proof sheets are corrected.... He was all kindness, and talked like his own self while he made me tea—and would walk as far as Vauxhall Bridge with me on my way home.”