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

“the joy-giver,” as he was well termed), suggested introducing the young poet to her, but on the plea of her ill-health she declined. A little later, in a letter to Mr. Boyd, she mentions one or two comments made on her essay, “The Greek Christian Poets,”—that Mr. Horne, and also “Mr. Browning, the poet,” had both, as she was told, expressed approval. “Mr. Browning is said to be learned in Greek,” she adds, “especially the dramatists.” So already the air begins to stir and tremble with the coming of him of whom in later days she wrote:

      “I yield the grave for thy sake, and resign

       My near sweet view of heaven for earth with thee.”

      The entrancing thrill of that wonderful Wagner music that ushers in the first appearance of the knight in the music-drama of “Lohengrin” is typical of the vibrations that thrill the air in some etherial announcement of experiences that are on the very threshold, and which are recognized by a nature as sensitive and impressionable as was that of Elizabeth Barrett. A new element with its transfiguring power awaited her, and some undefined prescience of that

      “... most gracious singer of high poems”

      whose music was to fall at her door

      “... in folds of golden fulness”

      haunted her like “an odor from Dreamland sent.”

      She pondered on

      “... how Theocritus had sung

       Of the sweet years, the dear and wished-for years,”

      but she dared not dream that the “mystic Shape” that drew her backward, and whose voice spoke “in mastery,” had come to lead her,—not to Death, but Love.

      CHAPTER V

       Table of Contents

      1841-1846

      “... If a man could feel,

       Not one day in the artist’s ecstasy,

       But every day,—feast, fast, or working-day,

       The spiritual significance burn through

       The hieroglyphic of material shows,

       Henceforward he would paint the globe with wings.”

      “Bells and Pomegranates”—Arnould and Domett—“A Blot in the ’Scutcheon”—Macready—Second Visit To Italy—Miss Barrett’s Poetic Work—“Colombe’s Birthday”—“Lady Geraldine’s Courtship”—“Romances And Lyrics”—Browning’s First Letter To Miss Barrett—The Poets Meet—Letters of Robert Browning and Elizabeth Barrett—“Loves of the Poets”—Vita Nuova.

      The appearance of “Bells and Pomegranates” made a deep impression on Elizabeth Barrett, as the numbers, opening with “Pippa Passes,” successively appeared between 1841 and 1846. Of “Pippa” she said she could find it in her heart to covet the authorship, and she felt all the combinations of effect to be particularly “striking and noble.” In a paper that Miss Barrett wrote in these days for the Athenæum, critically surveying the poetic outlook of the time, she referred to Browning and Tennyson as “among those high and gifted spirits who would still work and wait.” When this London journal reviewed (not too favorably) Browning’s “Romances and Lyrics,” Miss Barrett took greatly to heart the injustice that she felt was done him, and reverted to it in a number of personal letters, expressing her conviction that “it would be easier to find a more faultless writer than a poet of equal genius.” An edition of Tennyson, in two volumes, came out, including the “Ulysses,” “Morte d’Arthur,” “Locksley Hall,” and “Œnone,” of which she says no one quite appeals to her as does “Œnone,” and she expresses her belief that philosophic thinking, like music, is always involved in high ideality of any kind. Wordsworth she insisted upon estimating from his best, not from his poorest work, and his “Ode” was to her so grand as to atone for a multitude of poetic sins. “I confess,” she wrote to Boyd, “that he is not unfrequently heavy and dull, and that Coleridge has an intenser genius.” To her cousin, Kenyon, Miss Barrett sent the manuscript of her poem, “The Dead Pan,” which he showed to Browning, who wrote of it to Kenyon with ardent admiration. This note was sent to Miss Barrett, who displayed it to Horne that he might see the opinion of the poet whom they both admired. Still later, Horne published in his “New Spirit of the Age” sketches of several writers with their portraits; and those of Carlyle, Miss Martineau, Wordsworth, Tennyson, and Browning, Miss Barrett had framed for her own room. She asked Kenyon if that of Browning were a good one. “Rather like,” he replied. So here and there the Fates were invisibly at work, forging the subtle threads that were drawing the poets unconsciously nearer.

      It was the suggestion of Browning’s publisher, Moxon, that “Bells and Pomegranates” might be issued in pamphlet form, appearing at intervals, as this plastic method would be comparatively inexpensive, and would also permit the series to be stopped at any time if its success was not of a degree to warrant continuance. The poet found his title, as he afterward explained in a letter to Miss Barrett, in Exodus, “... upon the hem of the robe thou shalt make pomegranates of blue and of purple, and of scarlet, and bells of gold between them round about.” After “Pippa Passes” there followed “King Victor and King Charles,” a number of Lyrics, “The Return of the Druses,” “A Blot in the ’Scutcheon,” “Luria,” and “A Soul’s Tragedy.” On each of the title-pages the author was named as the writer of “Paracelsus,” “Sordello” being ignored. Among the dedications of these several numbers those so honored included John Kenyon, Proctor, and Talfourd.

      Browning offered “A Blot in the ’Scutcheon” to Macready (whose stage fortunes at this period were not brilliant), with the remark that “The luck of the third venture is proverbial.” The actor consulted Forster, who passed the play on to Dickens, to whom it deeply appealed. Under date of November 25, 1842, Dickens wrote of it to Forster in the most enthusiastic words, saying the reading of it had thrown him “into a perfect passion of sorrow,” and that it was “full of genius, natural, and great thoughts,... and I swear it is a tragedy that must be played, and played by Macready,” continued the novelist. “And tell Browning that I believe from my soul there is no man living (and not many dead) who could produce such a work.” Forster did not, however, administer this consolation to the young author, who was only to learn of Dickens’s admiration thirty years later, when Forster’s biography of him appeared. The story of the production of the play is told in a letter from Joseph Arnould to Alfred Domett (then in New Zealand), written under date of May, 1843, dated from Arnould’s home in Victoria Square, Pimlico:

      “As one must begin somewhere, suppose we take Browning.... In February his play, ‘A Blot in the ’Scutcheon,’ was announced as forthcoming at Drury Lane.... Meantime, judicious friends had a habit of asking when the play was coming out....”[5]

      A long chapter of vexations is humorously described by Domett, who concludes his letter with this tribute to the play.

      “... With some of the finest situations and grandest passages you can conceive, it does undoubtedly want a sustained interest to the end of the third act; in fact the whole of that act on the stage is a falling off from the second, which I need not tell you is, for purposes of performance, the most unpardonable fault. Still, it will no doubt—nay, it must—have done this, viz., produced a higher opinion than ever of Browning’s genius and the great things he is yet to do, in the minds not only of a clique, but of the general world of readers. This man will go far yet....”

      While this vexation cancelled the friendly relations that had existed between Browning and Macready, it fostered the friendship between the poet and Helen Faucit (later Lady Martin), who remembered Browning’s attitude “as full of generous sympathy” for the actors of the cast; while he recalled Miss Faucit’s “perfect behavior as a woman, and her admirable playing, as the one gratifying factor” in the affair. But