Many persons have attempted to describe Browning as he appeared in society; there is a consensus of opinion as to the energy and cordiality of his way of social converse; but it is singular that, though some records of his out-pourings as a talker exist, very little is on record that possesses permanent value. Perhaps the best word that can be quoted is that remembered by Sir James Paget—Browning's recommendation of Bach's "Crucifixus—et sepultus—et resurrexit" as a cure for want of belief. He did not fling such pointed shafts as those of Johnson which still hang and almost quiver where they struck. His energy did not gather itself up into sentences but flowed—and sometimes foamed—in a tide. Cordial as he was, he could be also vehemently intolerant, and sometimes perhaps where his acquaintance with the subject of his discourse was not sufficient to warrant a decided opinion.[[121]] He appeared, says his biographer, "more widely sympathetic in his works than in his life"; with no moral selfishness he was, adds Mrs Orr, intellectually self-centred; and unquestionably the statement is correct. He could suffer fools, but not always gladly. Speaking of earlier days in Italy, T.A. Trollope observes that, while he was never rough or discourteous even to the most exasperating fool, "the men used to be rather afraid of Browning." His cordiality was not insincere; but it belonged to his outer, not his inner self. With the exception of Milsand, he appears to have admitted no man to his heart, though he gave a portion of his intellect to many. His friends, in the more intimate sense of the word, were women, towards whom his feeling was that of comradeship and fraternal affection without over-much condescension or any specially chivalric sentiment. When early in their acquaintance Miss Barrett promised Browning that he would find her "an honest man on the whole," she understood her correspondent, who valued a good comrade of the other sex, and had at the same time a vivid sense of the fact that such a comrade was not so unfortunate as to be really a man.
Let witnesses be cited and each give his fragment of evidence. Mr W.J. Stillman, an excellent observer, was specially impressed in his intercourse with Browning, by the mental health and robustness of a nature sound to the core; "an almost unlimited intellectual vitality, and an individuality which nothing could infringe on, but which a singular sensitiveness towards others prevented from ever wounding even the most morbid sensibility; a strong man armed in the completest defensive armour, but with no aggressiveness."[[122]] A writer in the first volume of The New Review, described Browning as a talker in general society so faithfully that it is impossible to improve on what he has said: "It may safely be alleged," he writes, "that no one meeting Mr Browning for the first time, and unfurnished with a clue, would guess his vocation. He might be a diplomatist, a statesman, a discoverer, or a man of science. But, whatever were his calling, we should feel that it must be essentially practical.... His conversation corresponds to his appearance. It abounds in vigour, in fire, in vivacity. Yet all the time it is entirely free from mystery, vagueness, or technical jargon. It is the crisp, emphatic and powerful discourse of a man of the world, who is incomparably better informed than the mass of his congeners. Mr Browning is the readiest, the blithest, and the most forcible of talkers. Like the Monsignore in Lothair he can 'sparkle with anecdote and blaze with repartee,' and when he deals in criticism the edge of his sword is mercilessly whetted against pretension and vanity. The inflection of his voice, the flash of his eye, the pose of his head, the action of his hand, all lend their special emphasis to the condemnation." The mental quality which most impressed Mr W.M. Rossetti in his communications with Browning was, he says, "celerity "—"whatever he had to consider or speak about, he disposed of in the most forthright style." His method was of the greatest directness; "every touch told, every nail was hit on the head." He was not a sustained, continuous speaker, nor exactly a brilliant one; "but he said something pleasant and pointed on whatever turned up; ... one felt his mind to be extraordinarily rich, while his facility, accessibility, and bonhomie, softened but did not by any means disguise the sense of his power."[[123]] Browning's discourse with a single person who was a favoured acquaintance was, Mr Gosse declares, "a very much finer phenomenon than when a group surrounded him." Then "his talk assumed the volume and the tumult of a cascade. His voice rose to a shout, sank to a whisper, ran up and down the gamut of conversational melody.... In his own study or drawing-room, what he loved was to capture the visitor in a low arm-chair's "sofa-lap of leather", and from a most unfair vantage of height to tyrannize, to walk round the victim, in front, behind, on this side, on that, weaving magic circles, now with gesticulating arms thrown high, now grovelling on the floor to find some reference in a folio, talking all the while, a redundant turmoil of thoughts, fancies, and reminiscences flowing from those generous lips."[[124]]
Mr Henry James in his "Life of Story"[[125]] is less pictorial, but he is characteristically subtle in his rendering of the facts. He brings us back, however, to Browning as seen in society. He speaks of the Italian as a comparatively idyllic period which seemed to be "built out," though this was not really the case, by the brilliant London period. It was, he says, as if Browning had divided his personal consciousness into two independent compartments. The man of the world "walked abroad, showed himself, talked, right resonantly, abounded, multiplied his connections, did his duty." The poet—an inscrutable personage—"sat at home and knew, as well he might, in what quarters of that sphere to look for suitable company." "The poet and the 'member of society' were, in a word, dissociated in him as they can rarely elsewhere have been.... The wall that built out the idyll (as we call it for convenience) of which memory and imagination were virtually composed for him, stood there behind him solidly enough, but subject to his privilege of living almost equally on both sides of it. It contained an invisible door, through which, working the lock at will, he could softly pass, and of which he kept the golden key—carrying about the same with him even in the pocket of his dinner waistcoat, yet even in his most splendid expansions showing it, happy man, to none." Tennyson, said an acquaintance of Miss Anna Swanwick, "hides himself behind his laurels, Browning behind the man of the world." She declares that her experience was more fortunate; that she seldom heard Browning speak without feeling that she was listening to the poet, and that on more than one occasion he spoke to her of his wife[[126]]. But many witnesses confirm the impression which is so happily put into words by Mr Henry James. The "member of society" protected the privacy of the poet. The questions remain whether the poet did not suffer from such protection; whether, beside the superfluous forces which might be advantageously disposed of at the drawing-board or in thumping wet clay, some of the forces proper to the poet were not drawn away and dissipated by the incessant demands of Society; whether while a sufficient fund of energy for the double life was present with Browning, the peculiar energy of the poet did not undergo a certain deterioration. The doctrine of the superiority of the heart to the intellect is more and more preached in Browning's poetry; but the doctrine itself is an act of the intellect. The poet need not perhaps insist on the doctrine if he creates—as Browning did in earlier years—beautiful things which commend themselves, without a preacher, to our love.
In the autumn of 1878, after seventeen years of absence from Italy, Browning was recaptured by its charm, and henceforward to the close of his life Venice and the Venetian district became his accustomed place of summer refreshment and repose. For a time, with his sister as his companion, he paused at a hotel near the summit of the Splügen, enjoyed the mountain air, walked vigorously, and wrote, with great rapidity, says Mrs Orr, his poem of Russia, Ivàn Ivànovitch. When a boy he had read in Bunyan's "Life and Death of Mr Badman" the story of "Old Tod", and with this still vivid in his memory, he added to his Russian tale the highly unidyllic "idyl" of English life, Ned Bratts. It was thus that subjects for poems suddenly presented themselves to Browning, often rising up as it were spontaneously out of the remote past. "There comes up unexpectedly," he wrote in a letter to a friend, "some subject for poetry, which has been dormant, and apparently dead, for perhaps dozens of years. A month since I wrote a poem of some two hundred lines ['Donald'] about a story I heard more than forty years ago, and never dreamed of trying to repeat, wondering how it had so long escaped me; and so it has been with my best things."[[127]] Before the close of September the travellers were in a rough but pleasant albergo at Asolo, which Browning had not seen since his first Italian journey more than forty years previously. "Such things," he writes, "have begun and ended with me in the interval!" Changes had taken place in the little city; yet much seemed familiar and therefore the more dreamlike. The place had indeed haunted him in his dreams; he would find himself travelling with a friend, or some mysterious stranger, when suddenly the little town sparkling in the sunshine would rise before him. "Look! look there is Asolo," he would cry, "do let us go there!" And always, after the way of dreams, his companions would declare it impossible and he would be hurried away.[[128]] From the time that he actually saw again the city that he loved this recurring dream was to come no more. He wandered through the well-known places, and seeking for an echo in the Rocca, the ruined fortress above the town, he found that it had not lost its tongue. A fortnight at Venice in a hotel where quiet and coolness were the chief attractions, prepared the way for many subsequent visits to what he afterwards called "the dearest place in the world." Everything in Venice, says Mrs Bronson, charmed him: "He found grace and beauty in the popolo whom he paints so well in the Goldoni sonnet. The poorest street children were pretty in his eyes. He would admire a carpenter or a painter, who chanced to be at work in the house, and say to me 'See the fine poise of the head ... those well-cut features. You might fancy that man in the crimson robe of a Senator as you see them in Tintoret's canvas.'"
But these are reminiscences of later days. It was in 1880 that Browning made the acquaintance of his American friend Mrs Arthur Bronson, whose kind hospitalities added to the happiness of his visits to Asolo and to Venice, who received, as if it were a farewell gift, the dedication of his last volume, and who, not long before her death in 1901, published interesting articles on "Browning in Asolo" and "Browning in Venice" in The Century Magazine. The only years in which he did not revisit Venice were 1882, 1884 and 1886, and in each of these years his absence was occasioned by some unforeseen mis-adventure. In 1882 the floods were out, and he proceeded no farther than Verona. Could he have overcome the obstacles and reached Venice, he feared that he might have been incapable of enjoying it. For the first time in his life he was lamed by what he took for an attack of rheumatism, "caught," he says, "just before leaving St Pierre de Chartreuse, through my stupid inadvertence in sitting with a window open at my back—reading the Iliad, all my excuse!—while clad in a thin summer suit, and snow on the hills and bitterness every where."[[129]] In 1884 his sister's illness at first forbade travel to so considerable a distance. The two companions were received by another American friend, Mrs Bloomfield Moore, at the Villa Berry, St Moritz, and when she was summoned across the Atlantic, at her request they continued to occupy her villa. The season was past; the place deserted; but the sun shone gloriously. "We have walked every day," Browning wrote at the end of September, "morning and evening—afternoon I should say—two or three hours each excursion, the delicious mountain air surpassing any I was ever privileged to breathe. My sister is absolutely herself again, and something over: I was hardly in want of such doctoring."[[130]] Two years later Miss Browning was ailing again, and they did not venture farther than Wales. At the Hand Hotel, Llangollen, they were at no great distance from Brintysilio, the summer residence of their friends Sir Theodore and Lady Martin—in earlier days the Lady Carlisle and Colombe of Browning's plays.[[131]] Mrs Orr notices that Browning, Liberal as he declared himself, was now very favourably impressed by the services to society of the English country gentleman. "Talk of abolishing that class of men!" he exclaimed, "they are the salt of the earth!" She adds, as worthy of remark, that he attended regularly the afternoon Sunday service in the parish church at Llantysilio, where now a tablet of Lady Martin's placing marks the spot. Churchgoing was not his practice in London; "but I do not think," says Mrs Orr, "he ever failed in it at the Universities or in the country." At Venice it was his custom to be present with his sister at the services of a Waldensian chapel, where "a certain eloquent pastor," as Mrs Bronson describes him, was the preacher. A year before his death Browning in a letter to Lady Martin recalls the happy season in the Vale of Llangollen—"delightful weeks—each tipped with a sweet starry Sunday at the little church leading to the House Beautiful where we took our rest of an evening spent always memorably."
THE PALAZZO GIUSTINIANI, VENICE.
From a drawing by Miss N. ERICHSEN.
Before passing on to Venice, where repose was mingled with excitement, Browning was accustomed to seek a renewal of physical energy, after the fatigues of London, in some place not too much haunted by the English tourist, where he could walk for hours in the clear mountain air. In 1881 and 1882 it was St Pierre de Chartreuse, from which he visited the Grande Chartreuse, and heard the midnight mass; in 1883 and 1885 it was Gressoney St Jean in the Val d'Aosta—the "delightful Gressoney" of the Prologue to Ferishtah's Fancies, where "eggs, milk, cheese, fruit" sufficed "for gormandizing"; in 1888 it was the yet more beautiful Primiero, near Feltre. In the previous year he had, for the second time, stayed at St Moritz. These were seasons of abounding life. St Pierre was only "a wild little clump of cottages on a mountain amid loftier mountains," with the roughest of little inns for its hotel; but its primitive arrangements suited Browning well and were bravely borne by his sister.[[132]] From Gressoney in September 1885 he wrote: "We are all but alone, the brief 'season' being over, and only a chance traveller turning up for a fortnight's lodging. We take our walks in the old way; two and a half hours before breakfast, three after it, in the most beautiful country I know. Yesterday the three hours passed without our meeting a single man, woman, or child; one man only was discovered at a distance at the foot of a mountain we had climbed."[[133]] All things pleased him; an August snowstorm at St Moritz was made amends for by "the magnificence of the mountain and its firs black against the universal white"; it served moreover as an illustration of a passage in the Iliad, the only book that accompanied him from England: "The days glide away uneventfully, nearly, and I breathe in the pleasant idleness at every pore. I have no few acquaintances here—nay, some old friends—but my intimates are the firs on the hillside, and the myriad butterflies all about it, every bright wing of them under the snow to-day, which ought not to have been for a fortnight yet."[[134]] And from Primiero in 1888, when his strength had considerably declined, a letter tells of unabated pleasure; of mountains "which morning and evening, in turn, transmute literally to gold," with at times a silver change; of the valley "one green luxuriance"; of the tiger-lilies in the garden above ten feet high, every bloom and every leaf faultless; and of the captive fox, "most engaging of little vixens," who, to Browning's great joy, broke her chain and escaped.[[135]] As each successive volume that he published seemed to him his best, so of his mountain places of abode the last always was the loveliest.