You might see
In apparition in the golden sky
... the sheep run
Along the fine clear outline, small as mice
That run along a witch's scarlet thread.
And this is a wonderful rendering of the effect, which never fails to impress the thought, of the mountains of a strange land rising into sight over the sea's rim:
I felt the wind soft from the land of souls:
The old miraculous mountain heaved in sight
One straining past another along the shore
The way of grand, tall Odyssean ghosts,
Athirst to drink the cool blue wine of seas
And stare on voyagers.
We may conclude with this enchanting picture of an Italian evening:
Fire-flies that suspire
In short soft lapses of transported flame
Across the tingling dark, while overhead
The constant and inviolable stars
Outrun those lights-of-love: melodious owls
(If music had but one note and was sad,
'Twould sound just so): and all the silent swirl
Of bats that seem to follow in the air
Some grand circumference of a shadowy dome
To which we are blind; and then the nightingales
Which pluck our heart across a garden-wall,
(When walking in the town) and carry it
So high into the bowery almond-trees
We tremble and are afraid, and feel as if
The golden flood of moonlight unaware
Dissolved the pillars of the steady earth,
And made it less substantial.
It would seem in studying Mrs. Browning's work as though either she herself or her advisers did not appreciate her special gift. The longest of her poems are the work of her later years, whereas her strength did not lie so much in sustained narrative effort, in philosophical construction, or patriotic sentiment, as in the true lyrical gift. It seems more and more clear as time goes on that the poems by which she will be best remembered are some of her shortest—the expression of a single overruling mood—the parable without the explanation—the burst of irrepressible feeling.
I should be inclined, if I had to make a small selection out of the poems, to name seven lyrics as forming the truest and most characteristic work she ever produced—characteristic that is of her strength, and showing the fewest signs of her weakness. These are: "Loved Once," "The Romance of the Swan's Nest," "Catarina to Camoens," "Cowper's Grave," "The Cry of the Children," "The Mask," and lastly "Confessions," which seems to me one of the stormiest and most pathetic poems in the language. A few words of critical examination may be given to each.
The first fact that strikes a reader is that all of these, with one exception, depend to a certain extent upon the use of a refrain. Of course the refrain is a species of metrical trick; but there is no possibility of denying, that, if properly used, it gives a peculiar satisfaction to that special sense—whatever it be, for there is no defining it—to which metre and rhyme both appeal. At the same time there is one condition attached to this device, that it should not be prolonged into monotony. At what precise moment this lapse into monotony takes place, or by what other devices it may be modified, must be left to the sensitive taste of the writer, but if the writer does not discover when it becomes monotonous the reader will do so; and this is certainly the case in "The Dead Pan," though the refrain is there varied.
To a certain extent too it must be confessed that this same monotony affects two of the poems which we have mentioned: "Loved Once," and "Catarina to Camoens." The former of these deals with the permanence of a worthy love; and the refrain, "Loved Once," is dismissed as being the mere treasonous utterance of those who have never understood what love is. The poem gains, too, a pathetic interest from the fact that it records the great estrangement of Mrs. Browning's life.