"What if all be error,
If the halo irised round my head were—Love, thine arms?"
He disdains to answer; for the last words glow with a fire which of itself dispels the chill wind. A faith founded upon love had for Browning a surer guarantee than any founded upon reason; it was secured by that which most nearly emancipated men from the illusions of mortality, and enabled them to see things as they are seen by God.
The Parleyings with Certain People of Importance in their Day (1887) is a more laboured and, save for one or two splendid episodes, a less remarkable achievement than Ferishtah. All the burly diffuseness which had there been held in check by a quasi-oriental ideal of lightly-knit facility and bland oracular pithiness, here has its way without stint, and no more songs break like the rush of birds' wings upon the dusty air of colloquy. Thrusting in between the lyrics of Ferishtah and Asolando, these Parleyings recall those other "people of importance" whose intrusive visit broke in upon "the tenderness of Dante." Neither their importance in their own day nor their relative obscurity, for the most part, in ours, had much to do with Browning's choice. They do not illustrate merely his normal interest in [the] obscure freaks and out-of-the-way anomalies of history. The doings of these "people" had once been "important" to Browning himself, and the old man's memory summoned up these forgotten old-world friends of his boyhood to be championed or rallied by their quondam disciple. The death of the dearest friend of his later life, J. Milsand, in 1886, probably set these chords vibrating; the book is dedicated to his memory. Perhaps the Imaginary Conversations of an older friend and master of Browning's, one even more important in Browning's day and in ours than in his own, and the master of his youth, once more suggested the scheme. But these Parleyings are conversations only in name. They are not even monologues of the old brilliantly dramatic kind. All the dramatic zest of converse is gone, the personages are the merest shadows, nothing is seen but the old poet haranguing his puppets or putting voluble expositions of his own cherished dogmas into their wooden lips. We have glimpses of the boy, when not yet able to compass an octave, beating time to the simple but stirring old march of Avison "whilom of Newcastle organist"; and before he has done, the memory masters him, and the pedestrian blank verse breaks into a hymn "rough, rude, robustious, homely heart athrob" to Pym the "man of men." Or he calls up Bernard Mandeville to confute the formidable pessimism of his old friend Carlyle—"whose groan I hear, with guffaw at the end disposing of mock—melancholy." Gerard de Lairesse, [whose] rococo landscapes had interested him as a boy, he introduces only to typify an outworn way of art—the mythic treatment of nature; but he illustrates this "inferior" way with a splendour of poetry that makes his ironic exposure dangerously like an unwitting vindication. These visions of Prometheus on the storm-swept crag, of Artemis hunting in the dawn, show that Browning was master, if he had cared to use it, of that magnificent symbolic speech elicited from Greek myth in the Hyperion or the Prometheus Unbound. But it was a foreign idiom to him, and his occasional use of it a tour de force.
Two years only now remained for Browning, and it began to be apparent to his friends that his sturdy health was no longer secure. His way of life underwent no change, he was as active in society as ever, and acquaintances, old and new, still claimed his time, and added to the burden, always cheerfully endured, of his correspondence. In October 1887 the marriage of his son attached him by a new tie to Italy, and the Palazzo Rezzonico on the Grand Canal, where "Pen" and his young American wife presently settled, was to be his last, as it was his most magnificent, abode. To Venice he turned his steps each autumn of these last two years; lingering by the way among the mountains or in the beautiful border region at their feet. It was thus that, in the early autumn of 1889, he came yet once again to Asolo. His old friend and hostess, Mrs Arthur Bronson, had discovered a pleasant, airy abode on the old [town-wall], overhanging a ravine, and Asolo, seen from this "castle precipice-encurled," recovered all its old magic. It was here that he put together the disconnected pieces, many written during the last two years in London, others at Asolo itself, which were finally published on the day of his death. The Tower of Queen Cornaro still overlooked the little town, as it had done half a century before; and he attached these last poems to the same tradition by giving them the pleasant title said to have been invented by her secretary. Asolando—Facts and Fancies, both titles contain a hint of the ageing Browning,—the relaxed physical energy which allows this strenuous waker to dream (Reverie; Bad Dreams); the flagging poetic power, whose fitful flashes could no longer transfigure the world for him, but only cast a fantastic flicker at moments across its prosaic features. The opening lines sadly confess the wane of the old vision:—
"And now a flower is just a flower:
Man, bird, beast are but beast, bird, man—
Simply themselves, uncinct by dower
Of dyes which, when life's day began,
Round each in glory ran."
The famous Epilogue is the last cheer of an old warrior in whom the stout fibre of heroism still held out when the finer nerve of vision decayed; but A Reverie shows how heavy a strain it had to endure in sustaining his faith that the world is governed by Love. Of outward evidence for that conviction Browning saw less and [less]. But age had not dimmed his inner witness, and those subtle filaments of mysterious affinity which, for Browning, bound the love of God for man to the love of man for woman, remained unimpaired. The old man of seventy-seven was still, in his last autumn, singing songs redolent, not of autumn, but of the perfume and the ecstasy of spring and youth,—love-lyrics so illusively youthful that one, not the least competent, of his critics has refused to accept them as work of his old age. Yet Now and Summum Bonum, and A Pearl, a Girl, with all their apparent freshness and spontaneity, are less like rapt utterances of passion than eloquent analyses of it by one who has known it and who still vibrates with the memory. What preoccupies and absorbs him is not the woman, but the wonder of the transfiguration wrought for him by her word or kiss,—the moment made eternal, the "blaze" in which he became "lord of heaven and earth." But some of the greatest love-poetry of the world—from Dante onwards—has reflected an intellect similarly absorbed in articulating a marvellous experience. For the rest, Asolando is a miscellany of old and new,—bright loose drift from the chance moods of genius, or bits of anecdotic lumber carefully recovered and refurbished, as in prescience of the nearing end.
Yet no such prescience appears to have been his. His buoyant confidence in his own vitality held its own. He was full of schemes of work. At the end of October the idyllic days at Asolo ended, and Browning repaired for the last time to the Palazzo [Rezzonico]. A month later he caught a bronchial catarrh; failure of the heart set in, and on the evening of December 12 he peacefully died. On the last day of the year his body was laid to rest in "Poets' Corner."