The Love Letters of Elizabeth Barrett Browning & Robert Browning. Robert Browning

she refers to his theory that slowness of the pulse is a sign of the poetical impulse. If this be true, she fears she has no hope of being a poet, “for my pulse is in a continual flutter,” she notes; and she explains to Mr. Boyd that the line

      “One making one in strong compass”

      in “The Poet’s Vow,” which he found incomprehensible, really means that “the oneness of God, ‘in Whom are all things,’ produces a oneness, or sympathy, with all things. The unity of God preserves a unity in man.”

      All in all, Miss Barrett is coming to enjoy her London life. There was the Royal Academy, “and real live poets, with their heads full of the trees and birds, and sunshine of Paradise”; and she has “stood face to face with Wordsworth and Landor”; Miss Mitford has become a dear friend, but she visits London only at intervals, as she lives—shades of benighted days!—thirty miles from London. A twentieth century residence across the continent could hardly seem more remote.

      The removal to Wimpole Street was decided upon, and to that house (No. 50), gloomy or the reverse, the Barretts migrated. Miss Barrett’s new book, under the title of “The Seraphim and Other Poems,” was published, marking her first professional appearance before the public over her own name. “I feel very nervous about it,” she said; “far more than I did when my ‘Prometheus’ crept out of the Greek.”

      Mr. Kenyon was about to go to Rydal Mount on a visit to Wordsworth, and Miss Barrett begs him to ask, as for himself, two garden cuttings of myrtle or geranium, and send to her—two, that she may be sure of saving one.

      Autographs had value in those days, and in a note to Mr. Bray Miss Barrett alludes to one of Shakespeare’s that had been sold for a hundred pounds and asks if he feels sure of the authenticity of his own Shakespearean autograph.

      A new poetic era had dawned about the time that “The Seraphim” appeared. Tennyson had written “Audley Court,” and was beginning to be known in America, owing this first introduction to Emerson, who visited Landor in Florence and made some sojourn afterward in England. The Boston publishing house of C. C. Little and Company (now Little, Brown, and Company) had written to Tennyson (under date of April 27, 1838) regarding a republishing of his volume, as the future laureate was already recognized for the musical quality and perfection of art in his work. Browning had published only “Pauline,” “Paracelsus,” and “Strafford.” Shelley and Keats were dead, their mortal remains reposing in the beautiful English cemetery in Rome, under the shadow of the tall cypresses, by the colossal pyramid of Caius Cestus. Byron and Scott and Coleridge had also died. There were Landor and Southey, Rogers and Campbell; but with Miss Barrett there came upon the scene a new minstrelsy that compelled its own recognition. Some of her shorter poems had caught the popular ear; notably, her “Cowper’s Grave,” which remains, to-day, one of her most appealing and exquisite lyrics.

      “It is a place where poets crowned may feel the heart’s decaying;

       It is a place where happy saints may weep amid their praying.”

      The touching pathos of the line,

      “O Christians, at your cross of hope a hopeless hand was clinging!”

      moves every reader. And what music and touching appeal in the succeeding stanza:

      “And now, what time ye all may read through dimming tears his story,

       How discord on the music fell and darkness on the glory,

       And how when, one by one, sweet sounds and wandering lights departed,

       He wore no less a loving face because so broken-hearted.”

      In seeing, “on Cowper’s grave,... his rapture in a vision,” Miss Barrett pictured his strength—

      “... to sanctify the poet’s high vocation.”

      Her reverence for poetic art finds expression in almost every poem that she has written.

      Among other shorter poems included with “The Seraphim” were “The Poet’s Vow,” “Isobel’s Child,” and others, including, also, “The Romaunt of Margret.” The Athenæum pronounced the collection an “extraordinary volume,—especially welcome as an evidence of female genius and accomplishment,—but hardly less disappointing than extraordinary. Miss Barrett’s genius is of a high order,” the critic conceded; but he found her language “wanting in simplicity.” One reviewer castigated her for presuming to take such a theme as “The Seraphim” “from which Milton would have shrank!” All the critics agree in giving her credit for genius of no ordinary quality; but the general consensus of opinion was that this genius manifested itself unevenly, that she was sometimes led into errors of taste. That she was ever intentionally obscure, she denied. “Unfortunately obscure” she admitted that she might be, but “willingly so,—never.”

      Of the personal friends of Elizabeth Barrett one of the nearest was Mary Russell Mitford, who was nineteen years her senior. Miss Mitford describes her at the time of their meeting as having “such a look of youthfulness that she had some difficulty in persuading a friend that Miss Barrett was old enough to be introduced into society.” Miss Mitford added that she was “certainly one of the most interesting persons” she had ever seen; “of a slight, delicate figure,... large, tender eyes, and a smile like a sunbeam.”

      Mr. Kenyon brought Andrew Crosse, a noted electrician of the day, to see Miss Barrett; and in some reminiscences[4] written by Mrs. Andrew Crosse there is a chapter on “John Kenyon and his Friends” that offers the best comprehension, perhaps, of this man who was so charming and beloved a figure in London society,—a universal favorite. Born in 1784 in Jamaica, the son of a wealthy land-owner, he was sent to England as a lad, educated there, and in 1815 he set out for a tour of the continent. In 1817, in Paris, he met and became intimate with Professor George Ticknor of Harvard University, the Spanish historian; and through this friendship Mr. Kenyon came to know many of the distinguished Americans of the day, including Emerson, Longfellow, and Willis. Coleridge, Southey, Wordsworth, and Landor were among Kenyon’s most intimate circle; and there is a record of one of his dinners at which the guests were Daniel Webster, Professor and Mrs. Ticknor, Dickens, Montalembert, and Lady Mary Shepherd. In 1823 Kenyon married Miss Curteis, and they lived for some years in Devonshire Place, with frequent interludes of travel on the continent. Mrs. Kenyon died in 1835, but when the Barretts came up to London Kenyon had resumed his delightful hospitalities, of which he made fairly a fine art. Professor Ticknor has left an allusion to another dinner at Kenyon’s where he met Miss Barrett. In the autumn of 1839 Miss Barrett, accompanied by her brother Edward, went to Torquay, for the warmer climate, and Mr. Kenyon also had gone there for the winter. Around him were gathered a group of notable friends, with whom Miss Barrett, his cousin (with one remove), was constantly associated,—Landor, Andrew Crosse, Theodosia Garrow (afterwards the wife of Thomas Adolphus Trollope), and Bezzi, an accomplished Italian, who was afterward associated with Seymour Kirkup in discovering Dante’s portrait concealed under the whitewash applied to the walls of the Bargello in Florence. Miss Barrett was at this time entering into that notable correspondence with Richard Hengist Horne, many of these letters containing passages of interest. For instance, of poetry we find her saying:

      “If poetry under any form be exhaustible, Nature is; and if Nature is, we are near a blasphemy, and I, for one, could not believe in the immortality of the soul.

      ‘Si l’âme est immortelle, L’amour ne l’est-il-pas?’

      Extending l’amour into all love of the ideal, and attendant power of idealizing.... I don’t believe in mute, inglorious Miltons, and far less in mute, inglorious Shakespeares.”

      Referring to some correspondence with Miss Martineau, Miss Barrett characterizes her as “the noblest female intelligence between the seas,” and of Tennyson, in relation to some mention of him, she wrote that “if anything were to happen to Tennyson, the whole world should go into mourning.”

      A project (said to have originated with Wordsworth) was launched to “modernize” Chaucer, in which Miss Barrett, Leigh Hunt, Monckton Milnes, Mr. Horne,