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For me, the misfortune is, I sympathise just as much with these as with him,--so there can no good come of keeping this wild company any longer.
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Mere escapes of my inner power, like the light of a revolving lighthouse leaping out at intervals from a narrow chink; so wrote Browning in effect to Miss Barrett (Feb. 11, 1845) of the
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of which the first instalment had appeared three years before as the _Dramatic Lyrics_. Yet it is just by the intermittent flashes that the lighthouse is identified; and Browning's genius, as we have seen, was in the end to be most truly denoted by these
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With a few notable exceptions, they offer little to the student of Browning's ideology; they do not illustrate his theories of life, they disclose no good in evil and no hope in ill-success. But they are full of an exuberant joy in life itself, as seen by a keen observer exempt from its harsher conditions, to whom all power and passion are a feast. He watches the angers, the malignities of men and women, as one might watch the quarrels of wild beasts, not cynically, but with the detached, as it were professional, interest of a born
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The loftier hatred, which is a form of love,--the sublime hatred of a Dante, the tragic hatred of a Timon, even the unforgetting, self-consuming hatred of a Heathcliff,--did not now, or ever, engage his imagination. The indignant invective against a political renegade,
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Just for a handful of silver he left us, in which Browning spoke his own mind, is poor and uncharacteristic compared with pieces in which he stood aside and let some accomplished devil, like the Duke in _My last Duchess_, some clerical libertine, like the bishop of St Praxed's, some sneaking reptile, like the Spanish friar, some tiger-hearted Regan, like the lady of _The Laboratory_, or some poor crushed and writhing worm, like the girl of _The Confessional_, utter their callous cynicism or their deathbed torment, the snarl of petty spite, the low fierce cry of triumphant malice, the long-drawn shriek of futile rage. There was commonly an element of unreason, extravagance, even grotesqueness, in the hatreds that caught his eye; he had a relish for the gratuitous savagery of the lady in _Time's Revenges_, who would calmly decree that her lover should be burnt in a slow fire
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He seized the grotesque side of persecution; and it is not fanciful to see in the delightful chronicle of the Nemesis inflicted upon
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Sibrandus Schafnaburgensis a foretaste of the sardonic confessions of _Instans Tyrannus_. And he seized the element of sheer physical zest in even eager and impassioned action; the tramp of the march, the swing of the gallop in the fiery Cavalier Tunes, the crash of Gismond's
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upon Gauthier's mouth; the exultant lift of the
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That discovery introduced a new and unknown factor into his scheme of things. The love-poetry of the Dramatic Lyrics and Romances is still somewhat tentative and insecure. The beautiful fantasia _In a Gondola_ was directly inspired by a picture of his friend Maclise. He paints the romance of the lover's twilight tryst with all his incisive vigour; but his own pulse beats rather with the lover who goes forth at daybreak, and feels the kindling summons of the morning glory of sea and sunlight into the
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His attitude to women is touched with the virginal reserve of the young Hippolytus, whose tragic fate he had told in the lofty _Prologue_ of Artemis. He approaches them with a kind of delicate and distant awe; tender, even chivalrous, but accentuating rather the reserves and reticences of chivalry than its rewards. The lady of _The Flower's Name_ is beautiful, but her beauty is only shyly hinted; we see no feature of face or form; only the fold of her dress brushing against the box border, the
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of her white fingers among the dark leaves. The typical lover of these lyrics is of a temperament in which feminine sensitiveness and masculine tenacity are characteristically blended; a temperament which the faintest and most fugitive signs of love--a word, a glance, the impalpable music of a romantic name--not only kindle and subdue, but permanently fortify and secure. _Cristina_, _Rudel_, and the _Lost Mistress_ stand in a line of development which culminates in _The Last Ride Together_. Cristina's lover has but
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Her soul's mine; and thus, grown perfect, I shall pass my life's remainder.