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Page 5
He has no fear of death; he will face it gladly, in confidence of the
life beyond. His Grammarian is content to assume an order of things
which will justify in the next life his ceaseless toil in this, merely
to learn how to live. Rabbi Ben Ezra's old age is serene in the hope
of the continuity of life and the eternal development of character; he
finds life good, and the plan of things perfect. In brief, Browning
accepts life as it is, and believes it good, piecing out his
conception of the goodness of life by drawing without limit upon his
hopes of the other world. With the exception of a few poems like
_Andrea del Sarto_, this is the unbroken tone of his poetry.
Calvinism, asceticism, pessimism in any form, he rejects. He sustains
his position not by argument, but by hope and assertion. It is a
matter of temperament: he is optimistic because he was born so.
Different from the serene optimism of Shakespeare's later life, in
_The Tempest_ and _The Winter's Tale_, in that it is
not, like Shakespeare's, born of long and deep suffering from the
contemplation of the tragedies of human life, it bears, in that
degree, less of solace and conviction.
To Browning's temperament, also, may be ascribed another prominent
trait in his work. He steadily asserts the right of the individual to
live out his own life, to be himself in fulfilling his desires and
aspirations. _The Statue and the Bust_ is the famous exposition
of this doctrine. It is a teaching that neither the poet's optimism
nor his acumen has justified in the minds of men. It is a return to
the unbridled freedom of nature advocated by Whitman and Rousseau;
an extreme assertion of the value of the individual man, and of
unregulated democracy; an outgrowth, it may be, of the robustness and
originality of Browning's nature, and interesting--not as a clew to
his life, which conformed to that of organized society--but as a
clew to his independence of classical and conventional forms in the
exercise of his art.
Creative energy Browning has in high degree. With the poet's insight
into character and motives, the poet's grasp of the essential laws of
human life, the poet's vividness of imagination, he has portrayed a
host of types distinct from each other, true to life, strongly marked
and consistent. With fine dramatic instinct he has shown these
characters in true relation to the facts of life and to each other. In
this respect he has satisfied the most exigent demands of art, and
has already taken rank as one of the great creative minds of the
nineteenth century.
True poet he is, also, in his depth of feeling and range of sympathy.
Beneath a ruggedness of intellect, like his landscape in _De
Gustibus_, there is always sympathy and tenderness. It is, indeed,
more like the serenity of Chaucer's emotions than like the tragic
fervor of Shakespeare's. Mrs. Browning's estimate of him in _Lady
Geraldine's Courtship_,--
"Or from Browning some 'Pomegranate,' which, if cut deep down the middle,
Shows a heart within blood-tinctured, of a veined humanity,"
is true criticism.
His love of nature, and his sense of the joy and beauty of it, appear
often in his poetry; but not with the same insistence as in Wordsworth
and Burns, and seldom with the same pervasiveness, or with the same
beauty, as in Tennyson. He was rather the poet of men's souls. When
he does use nature, it is generally to illustrate some phase or
experience of the soul, and not for the sake of its beauty. He has,
however, some nature-descriptions so exquisite that English poetry
would be the poorer for their loss. Witness _De Gustibus_, _Up at a
Villa_, _Home Thoughts from Abroad_, _Pippa's Songs_, and _Saul_.
It is too early to guess at Browning's permanent place in our
literature. But his vigor of intellect, his insight into the human
heart, his originality in phrase and conception, his unquenchable and
fearless optimism, and his grasp of the problems of his century, make
him beyond question one of its greatest figures.
APPRECIATIONS
Shakespeare is not our poet, but the world's,
Therefore, on him no speech! and brief for thee,
Browning! Since Chaucer was alive and hale
No man has walked along our roads with step
So active, so inquiring eye, or tongue
So varied in discourse. But warmer climes
Give brighter plumage, stronger wing: the breeze
Of Alpine heights thou playest with, borne on
Beyond Sorrento and Amalfi, where
The Siren waits thee, singing song for song.
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