"PICTOR IGNOTUS" (Florence, 15--), is the answer of an unknown painter to the praise which he hears lavished on another man. He admits its justice, but declares that he too could have deserved it; and his words have all the bitterness of a suppressed longing which an unexpected touch has set free. He, too, has dreamed of fame; and felt no limits to his power of attaining it. But he saw, by some flash of intuition, that it must be bought by the dishonour of his works; that, in order to bring him fame, they must descend into the market, they must pa.s.s from hand to hand; they must endure the shallowness of their purchasers' comments, share in the pettiness of their lives. He has remained obscure, that his creations might be guarded against this sacrilege. "He paints Madonnas and saints in the twilight stillness of the cloister and the aisle; and if his heart saddens at the endless repet.i.tion of the one heavenward gaze, at least no merchant traffics in what he loves. There, where his pictures have been born, mouldering in the dampness of the wall, blackening in the smoke of the altar, amidst a silence broken only by prayer, they may 'gently' and 'surely' die." He asks himself, as he again subsides into mournful resignation, whether the applause of men may not be neutralized at its best by the ign.o.ble circ.u.mstances which it entails.

"THE BISHOP ORDERS HIS TOMB AT SAINT PRAXED'S CHURCH" (Rome, 15--) displays the artistic emotion in its least moral form: the love of the merely beautiful as such; and it shows also how this may be degraded: by connecting it in the mind of the given person, with the pa.s.sion for luxury, and the pride and jealousies of possession. The Bishop is at the point of death. His sons (nominally nephews) are about him; and he is urging on them anxious and minute directions for the tomb they are to place for him in St. Praxed's church.

This tomb, as the Bishop has planned it, is a miracle of costliness and beauty; for it is to secure him a double end: the indulgence of his own tastes, and the humiliation of a former rival who lies modestly buried in the same church. In the delirium of his weakness, these motives, which we imagine always prominent, a.s.sume the strength of mania. His limbs are already stiff; he feels himself growing into his own monument; and his fancy revels in the sensations which will combine the calm of death with the consciousness of sepulchral magnificence. He pleads, as for dear life, with those who are to inherit his wealth, and who may at their pleasure fulfil his last wishes or disregard them: that he may have jasper for his tomb--basalt (black antique) for its slab--the rosiest marble for its columns--the richest design for its bronze frieze! A certain ball of lapis-lazuli (such as never yet was seen) is to "poise" between his knees; and he gasps forth the secret of how he saved this from the burning of his church, and buried it out of sight in a vineyard, as if he were staking his very life on the revelation.

But in his heart he knows that his entreaties are useless: that his sons will keep all they can; and the tone of entreaty is dashed with all the petulance of foreseen disappointment. Weakness prevails at last. He resigns himself to the inevitable; blesses his undutiful sons; and dismisses them.

Other strongly dramatic details complete the picture.[76]

"A TOCCATA OF GALUPPI'S" is a fantastic little vision of bygone Venice, evoked by the music of an old Venetian master, and filling us with the sense of a joyous ephemeral existence, in which the glow of life is already struck by the shuddering chill of annihilation. This sense is created by the sounds, as Mr. Browning describes them: and their directly expressive power must stand for what it is worth. Still, the supposed effect is mainly that of a.s.sociation; and the listener's fancy the medium through which it acts.

"A FACE" describes a beautiful head and throat in its pictorial details--those which painting might reproduce.

"THE GUARDIAN-ANGEL" and "EURYDICE TO ORPHEUS" describe each an actual picture in the emotions it expresses or conveys.

The former represents an angel, standing with outstretched wings by a little child. The child is half kneeling on a kind of pedestal, while the angel joins its hands in prayer: its gaze directed upward towards the sky, from which cherubs are looking down. The picture was painted by Guercino, and is now in the church of St. Augustine, at Fano, on the Italian coast. Mr. Browning relates to an absent friend (who appears in the "Dramatic Romances" as Waring) how he saw it in the company of his own "angel;" and how it occurred to him to develop into a poem one of the thoughts which the picture had "struck out." The thought resolves itself into a feeling: the yearning for guidance and protection. The poet dreams himself in the place of that praying child. The angel wings cover his head: the angel hands upon his eyes press back the excess of thought which has made his brain too big. He feels how thankfully those eyes would rest on the "gracious face" instead of looking to the opening sky beyond it; and how purely beautiful the world would seem when that healing touch had been upon them.

The second was painted by F. Leighton. It represents Orpheus leading Eurydice away from the infernal regions, but with an implied variation on the story of her subsequent return to them. She was restored to Orpheus on the condition of his not looking at her till they had reached the upper world; and, as the legend goes, the condition proved too hard for him to fulfil. But the face of Leighton's Eurydice wears an intensity of longing which seems to challenge the forbidden look, and make her responsible for it. The poem thus interprets the expression, and translates it into words.

"ANDREA DEL SARTO" ("Men and Women," 1855) lays down the principle, a.s.serted by Mr. Browning as far back as in "Sordello," that the soul of the true artist must exceed his technical powers; that in art, as in all else, "a man's reach should exceed his grasp." And on this ground the poem might be cla.s.sed as critical. But it is still more an expression of feeling; the lament of an artist who has fallen short of his ideal--of a man who feels himself the slave of circ.u.mstance--of a lover who is sacrificing his moral, and in some degree his artistic, conscience to a woman who does not return his love. It is the harmonious utterance of a many-sided sadness which has become identified with even the pleasures of the man's life; and is hopeless, because he is resigned to it.

Andrea del Sarto was called the "faultless painter." His execution was as easy as it was perfect; and Michael Angelo is reported to have said to Raphael, of the insignificant little personage Andrea then was: that he would bring the sweat to his (Raphael's) brow, if urged on in like manner by popes and kings. But he lacked strength and loftiness of purpose; and as Mr. Browning depicts him, is painfully conscious of these deficiencies. He feels that even an ill-drawn picture of Raphael's--and he has such a one before him--has qualities of strength and inspiration which he cannot attain. His wife might have incited him to n.o.bler work; but Lucrezia is not the woman from whom such incentives proceed; she values her husband's art for what it brings her. Remorse has added itself in his soul to the sense of artistic failure. He has not only abandoned the French Court, and, for Lucrezia's sake, broken his promise to return to it; he has cheated his kind friend and patron, Francis I., of the money with which he was entrusted by him for the purchase of works of art. He has allowed his parents to die of want. All this, and more, reflects itself in the monologue he is addressing to his wife, but no conscious reproach is conveyed by it. She has consented to sit by him at their window, with her hand in his, while he drinks in her beauty, and finds in it rest and inspiration at the same time. She will leave him presently for one she cares for more; but the spell is deepening upon him. The Fiesole hills are melting away in the twilight; the evening stillness is invading his whole soul. He scarcely even desires to fight against the inevitable. Yet there might be despair in his concluding words: "another chance may be given to him in heaven, with Leonardo, Michael Angelo, and Raphael. But he will still have Lucrezia, and therefore they will still conquer him."

The facts adduced are all matter of history; though a later chronicle than that which Mr. Browning has used, is more favourable in its verdict on Andrea's wife.

The fiercer emotions also play a part, though seldom an exclusive one, in Mr. Browning's work. Jealousy forms the subject of

"THE LABORATORY." ("Dramatic Lyrics." Published in "Dramatic Romances and Lyrics." 1845.)[77]

"MY LAST d.u.c.h.eSS." ("Dramatic Romances." Published as "Italy"

in "Dramatic Lyrics." 1842.)

The first of these shows the pa.s.sion as distorted love: the frenzy of a woman who has been supplanted. The jealous wife (if wife she is) has come to the laboratory to obtain a dose of poison, which she means to administer to her rival; and she watches its preparation with an eager, ferocious joy, dashed only by the fear of its being inadequate. The quant.i.ty is minute; and it is (as we guess) the "magnificent" strength of that other one which has won _him_ away.

In the second we find a jealousy which has no love in it; which means the exactingness of self-love, and the tyranny of possession. A widowed Duke of Ferrara is exhibiting the portrait of his former wife, to the envoy of some n.o.bleman whose daughter he proposes to marry; and his comments on the countenance of his last d.u.c.h.ess plainly state what he will expect of her successor. "That earnest, impa.s.sioned, and yet smiling glance went alike to everyone. She who sent it, knew no distinction of things or persons. Everything pleased her: everyone could arouse her grat.i.tude. And it seemed to her husband, from her manner of showing it, that she ranked his gift, the 'gift of a nine-hundred-years-old name,' with that of everyone else. It was below his dignity to complain of this state of things, so he put an end to it.

He: 'gave commands;' and the smiles, too evenly dispensed, stopped all together." He does not fear to admit, as he does parenthetically, that there may have been some right on her side. This was below his concern.

The Duke touches, in conclusion, on the dowry which he will expect with his second wife; and, with a suggestive carelessness, bids his guest remark--as they are about to descend the staircase--a rare work in bronze, which a noted sculptor has cast for him.

Hatred, born of jealousy, has its fullest expression in the "SOLILOQUY OF THE SPANISH CLOISTER" ("Dramatic Lyrics." Published in "Bells and Pomegranates." 1842 to 1845): a venomous outbreak of jealous hatred, directed by one monk against another whom he is watching at some innocent occupation. The speaker has no ground of complaint against Brother Lawrence, except that his life _is_ innocent: that he is orderly and clean, that he loves his garden, is free from debasing superst.i.tions, and keeps his pa.s.sions, if he has any, in check. But that, precisely, is a rebuke and an exasperation to the fierce, coa.r.s.e nature of this other man; and he declares to himself, that if hate could kill, Brother Lawrence would not live long. Meanwhile, as we also hear, he spites him when he can, and fondly dreams of tripping him up somewhere, or somehow, on his way to the better world. He is turning over some pithy expedients, when the vesper bell cuts short his meditations.

WRATH, as inspired by a desperate sense of wrong, finds utterance in "THE CONFESSIONAL." ("Dramatic Lyrics." Published in "Bells and Pomegranates." 1842 to 1845.) A loved and loving girl has been made the instrument of her lover's destruction. He held a treasonable secret, which the Church was anxious to possess; and her priest has a.s.sured her that if this is fully revealed to him, he will, by prayer and fasting, purge its guilt from the young man's soul. She obtains the desired knowledge, reveals it, and joyfully antic.i.p.ates the result. When next she sees her lover, he is on the scaffold. They have stifled her denunciations in a prison-cell. Her body is wrenched with torture, as her soul with anguish. She is scarcely human any more. But she hurls at them unceasingly a cry which will yet reach the world. "Their Pope and their saints, their heaven and their h.e.l.l, their--everything they teach, and everything they say, is lies, and again lies."

"A FORGIVENESS" ("Pacchiarotto, and other Poems," 1876) might serve equally as a study for jealousy, self-reproach, contempt, and revenge; the love which is made to underlie these feelings, and the forgiveness with which it will be crowned.

It is a story told in confession. He who tells it had once a wife, who was dearer to him than anything else in the world. He had also public duties, which he discharged with diligence and with success; but it was the thought of the wife's love which nerved him to the fulfilment of these duties, and which rewarded it.

One day he discovered that she was unfaithful to him. A man (whose face was but imperfectly concealed) was stealing away from his house as he returned to it; and the wife, confronting him at the same moment, bade him kill her, but spare the man she loved. He did not kill her--then: for she had turned his love into contempt. He despised her too much to inflict even a lesser punishment, which should compromise the dignity, or disturb the outward calmness, of his life. But from that moment their union was a form; and while he worked as those do who have something to forget, and she shared the position which his labours procured for him, an impa.s.sable, if unseen, gulf lay between them.

Three years had pa.s.sed, when suddenly, one night, the wife begged to speak with her husband alone. Her request was granted; and then the truth broke forth. She loved--had loved--no one but him; but she was jealous of his devotion to the State. She imagined herself second to it in his affections; and it was the jealousy in her which had made her strive to arouse it in him. That other man had been nothing to her but a tool. Her secret, she now knew, was killing her. Conscience forbade her to elude her punishment by death. She therefore spoke.

"Would she write this?" he asked; and he dictated to her the confession she had just made, in the terms most humiliating to him who was intended to hear it.

"Could she but write it in her blood!" This, too, was possible. He put into her hand a dainty Eastern weapon, one p.r.i.c.k of which, he said, would draw so much blood as was required. It did more than this, for it was poisoned. But, before she died, she knew that her explanation had raised her husband's contempt into hatred, and that the revenge of which she was now found worthy had quenched the hatred in forgiveness.

"She lies as erst beloved" (the narrative concludes) "in the church of him who hears this confession; whom his grate conceals as little as that cloak once did--whom vengeance overtakes at last."

The poisoned dagger, which was the instrument of revenge--the pledge of forgiveness--is spoken of as part of a collection preserved in the so-called study, which was the scene of the interview; and the speaker dwells at some length on the impression of deadly purpose combined with loving artistic care, which their varied form and fantastic richness convey. This collection is actually in Mr. Browning's possession; and he values it, perhaps, for the reason he imputes to its imagined owner: that those who are accustomed to the slower processes of thought, like to play with the suggestions of prompt (if murderous) action; as the soldier, tired of wielding the sword, will play with paper and pen.

HISTORICAL POEMS, OR POEMS FOUNDED ON FACT.

Many of Mr. Browning's poems are founded on fact, whether historical, or merely of known occurrence; but few of them can be cla.s.sed by their historic quality, because it is seldom their most important. In "Prince Hohenstiel-Schw.a.n.gau," for instance, we have a chapter in recent history: but we only read it as an abstract discussion, to which a chapter in history has given rise; and in "Pacchiarotto, and how he worked in Distemper," and "Filippo Baldinucci on the Privilege of Burial" (published in the same volume), we find two incidents, each of them true, and each full of historic significance; but which owe all their vitality to the critical and humorous spirit, in which Mr.

Browning has described them. The small list of poems which are historical more than anything else, might be recruited from the Dramatic Idyls; but, for various reasons, this publication must stand alone; and even here, it is often difficult to disengage the actual fact, from the imaginary conditions in which it appears. Our present group is therefore reduced to--

"Red Cotton Night-Cap Country; or, Turf and Towers." (1873.) "The Inn Alb.u.m." (1875.) "The Two Poets of Croisic." (1878.) "Cenciaja." ("Pacchiarotto, and other Poems." 1876.)

We may also place here, as it is historical in character, "The Heretic's Tragedy; a Middle Age Interlude" ("Dramatic Romances." Published in "Men and Women." 1855.)

The real-life drama which Mr. Browning has reproduced under the t.i.tle of "Red Cotton Night-cap Country," was enacted partly in Paris, partly in a retired corner of Normandy, where he spent the late summer of 1872; and ended in a trial which had been only a fortnight closed, when he supposes himself to be relating it. His whole story is true, except that in it which reality itself must have left to the imagination. Only the names of persons and places are fict.i.tious.[78]

The princ.i.p.al actor in this drama, Leonce Miranda, was son and heir to a wealthy Spanish jeweller in the Place Vendome. He was southern by temperament as by descent; but a dash of the more mercantile Parisian spirit had come to him from his French mother; and while keenly susceptible to the incitements of both religious and earthly pa.s.sion, he began life with the deliberate purpose of striking a compromise between them. At an early age he determined to live for this world now, and for the other when he was older; and in the meantime to be moderate in his enjoyments. In conformity with this plan he ran riot on Sunday; but worked diligently during the rest of the week. He bestowed his fancy on five women at once; but represented himself, when in their company, as a poor artist or musician, and wasted no money upon them.

One day, however, he fell in love. The object of his affections, Clara Mulhausen, or, as she first calls herself, "de Millefleurs," was an adventuress; but she did not at first allow him to find this out; and when he did so, her hold upon him had become too strong to be affected by the discovery. A succession of circ.u.mstances, which Mr. Browning describes, first cemented the bond, then destroyed its secrecy; and since Clara had a husband, and the position could not be legalized, Leonce Miranda had no choice but to accept the social interdict, and with her retire from Paris. He placed a subst.i.tute in the business, which had devolved on him through his father's death; and the pair took up their abode at Clairvaux, an ancient priory, which the father had bought. Here Miranda built and improved; indulged his amateur propensities for painting and music; remained devoted to his love, and was rewarded by her devotion. For five years they were very happy.

The first interruption to their happiness was a summons to Miranda, from his mother in Paris, to come and answer for his excessive expenditure.

The immorality of his life she had condoned (a curious proof of this is given), for she hoped it would be its own cure. But "his architectural freaks, above all, a Belvedere which he had constructed in his grounds, were a reckless waste of substance which she could not witness without displeasure." She had immense influence with her son; and he took her rebuke so much to heart, that he only left her to fling himself into the Seine. He was brought out alive; but lay for a month at death's door, and made no progress towards recovery till he had been restored to Clara's care; and Clara was painfully winning him back to health, when the telegraphic wires flashed a second summons upon him. His presence was again demanded in the maternal home. "The business was urgent. Its nature he would learn on arrival."

He hastened to his mother's house, to find her a corpse--laid out with all the ghastly ceremonial which Catholic fancy could devise--and to be told that his misconduct had killed her. The tribe of cousins, who had planned the _coup de theatre_, were there to enjoy its result. This did not fail them. Miranda fainted away. As soon as consciousness returned, he made his act of atonement. He foreswore the illegal bond. He willed away his fortune to his kinsfolk; and would retain of it, from that moment, only a pittance for himself, and the means of honourable subsistence for Clara. They were to meet in the same house a week later, to arrange in what manner that sinful woman should be acquainted with the facts.

The day came. The cousins arrived. Miranda did not appear. He had broken down at the funeral in a fresh outburst of frenzied grief; but from this he had had time to recover. Someone peeped into his room. There he stood, by a blazing fire, a small empty coffer by his side, engaged in reading some letters which he had taken from it. Whose they were, and what the reading had told him, was quickly shown. He replaced them in the box, plunged this in the fire; and reiterating the words, "Burn, burn and purify my past!" held it there till both his hands had been consumed; no sign of pain escaping him. He was dragged away by main force, protesting against this hindrance to his salvation. "He was not yet purified. SHE was not yet burned out of him." In his bed he raved and struggled against the image which again rose before his eyes, which again grew and formed itself in his flesh.

The delirium was followed by three months of exhaustion. The moment the sick man could "totter" out of his room, he found his way to her whom he had abjured, and who was in Paris calmly awaiting his return to her. She came back with him. He introduced her to his kinsmen. "It was all right," he said; "Clara would henceforth be--his brother; he would still fulfil his bond." From this, however, he departed, in so far as not to content himself with a pittance. He sold his business to the "cousinry,"

and, as they considered, on hard terms. He and Clara then returned to Clairvaux.

And now, as Mr. Browning interprets the situation, his experience had entered on a new phase. He had tested the equal strength of the earthly and the heavenly powers, and he knew that he could elude neither, and that neither could be postponed to the other. He no longer strove to compromise between these opposing realities, but threw his whole being into the struggle to unite them. He adhered to his unlawful love. His acts of piety and charity became grotesque in their excessiveness. (Of these again particulars are given.) Two years went by; and then, one April morning, Miranda climbed his Belvedere, and was found, soon after, dead, on the turf below. There seemed no question of accident. The third attempt at suicide had succeeded.

On this fact, however, Mr. Browning puts a construction of his own. He a.s.serts the poet's privilege of seeing into the man's mind; and makes him think before us in a long and impa.s.sioned soliloquy, which sets forth the hidden motive of his deed. As Mr. Browning conceives him, he did not mean to kill himself. He did so in a final, irresistible impulse to manifest his faith, and to test the foundations of it. It has had for its object, not the spiritual truths of Christianity, but its miraculous powers; and these powers have of late been symbolized to his mind by the Virgin of the Ravissante.[79] The conflict of despotisms has thus been waged between the natural woman and the supernatural: each a monarch in her way. As he looks from his tower towards the Church of the Ravissante, he apostrophizes her who is enthroned there.

He imagines her to have reproached him for his divided allegiance; and a.s.serts, in answer, that he has been subject to her all his life. "He could not part with his soul's treasure. But he has, for her sake, lavished his earthly goods, burned away his flesh. If his sacrifice has been incomplete, it was because another power, mysterious and unnamed, but yet as absolute as she, had cast its spells about him. He would have resisted the Enchantress, if she, the Despot, had made a sign. But what token has he ever received, of her acceptance, her approbation? She exacts from her servants the surrender of both body and soul; the least deficiency in the offering neutralizes its sum. And what does she give in exchange for body and soul? Promises? Is a man to starve while the life-apple is withheld from him, if even husks are within his reach?

Miracles? Will she make a finger grow on his maimed hand? Would he not be called a madman if he expected it?"