Shelburne Essays, Third Series

by Paul Elmer More

Fit and fair and simple and sufficient—
Using nature that's an art to others,
Not, this one time, art that's turned his nature?

It would seem rather the uneasiness of his own mind when brought face to face with strong feeling where no escape remains into his oblique mode of expression. And the man Browning of real life, with his training in a dissenting Camberwell home and later his somewhat dapper acceptance of the London social season, accords with such a view of the writer. It is, too, worthy of note that almost invariably he impressed those who first met him as being a successful merchant, a banker, a diplomat—anything but a poet. There was passion enough below the surface, as his outburst of rage against FitzGerald and other incidents of the kind declare; but the direct exhibition of it was painful if not grotesque.

Yet in this matter, as in everything that touches Browning's psychology, it is well to proceed cautiously. Because he approached the emotions thus obliquely, as it were in a style hybrid between the lyric and the drama, it does not follow that his work is void of emotion or that he questioned the validity of human passion. The very contrary is true. I remember, indeed, once hearing a lady, whose taste was as frank as it was modern, say that she liked Browning better than Shakespeare because he was more emotional and less intellectual than the older dramatist. Her distinction was somewhat confused, but it leads to an important consideration; I do not know but it points to the very heart of the question of Browning's popularity. He is not in reality more emotional than Shakespeare, but his emotion is of a kind more readily felt by the reader of to-day; nor does he require less use of the intellect, but he does demand less of that peculiar translation of the intellect from the particular to the general point of view which is necessary to raise the reader into what may be called the poetical mood. In one sense Browning is nearly the most intellectual poet in the language. The action of his brain was so nimble, his seizure of every associated idea was so quick and subtile, his elliptical style is so supercilious of the reader's needs, that often to understand him is like following a long mathematical demonstration in which many of the intermediate equations are omitted. And then his very trick of approaching the emotions indirectly, his suspended psychology as I have called it, requires a peculiar flexibility of the reader's mind. But in a way these roughnesses of the shell possess an attraction for the educated public which has been sated with what lies too accessibly on the surface. They hold out the flattering promise of an initiation into mysteries not open to all the world. Our wits have become pretty well sharpened by the complexities of modern life, and we are ready enough to prove our analytical powers on any riddle of poetry or economics. And once we have penetrated to the heart of these enigmas we are quite at our ease. His emotional content is of a sort that requires no further adjustment; it demands none of that poetical displacement of the person which is so uncomfortable to the keen but prosaic intelligence.

And here that tenth Muse, who has been added to the Pantheon for the guidance of the critical writer, trembles and starts back. She beholds to the right and the left a quaking bog of abstractions and metaphysical definitions, whereon if a critic so much as set his foot he is sucked down into the bottomless mire. She plucks me by the ear and bids me keep to the strait and beaten path, whispering the self-admonition of one who was the darling of her sisters:

I won't philosophise, and will be read.

Indeed, the question that arises is no less than the ultimate distinction between poetry and prose, and "ultimates" may well have an ugly sound to one who is content if he can comprehend what is concrete and very near at hand. And, as for that, those who would care to hear the matter debated in terms of Idee and Begriff, Objektivität and Subjektivität, must already be familiar with those extraordinary chapters in Schopenhauer wherein philosophy and literature are married as they have seldom been elsewhere since the days of Plato. And yet without any such formidable apparatus as that, it is not difficult to see that the peculiar procedure of Browning's mind offers to the reader a pleasure different more in kind than in degree from what is commonly associated with the word poetry. His very manner of approaching the passions obliquely, his habit of holding his portrayal of character in suspense between direct exposition and dramatic reaction, tends to keep the attention riveted on the individual speaker or problem, and prevents that escape into the larger and more general vision which marks just the transition from prose to poetry.

It is not always so. Into that cry "O lyric Love" there breaks the note which from the beginning has made lovers forget themselves in their song—the note that passes so easily from the lips of Persian Omar to the mouth of British FitzGerald:

Ah Love! could you and I with Him conspire
To grasp this sorry Scheme of Things entire,
Would not we shatter it to bits—and then
Re-mould it nearer to the Heart's Desire!

Is it not clear how, in these direct and lyrical expressions, the passion of the individual is carried up into some region where it is blended with currents of emotion broader than any one man's loss or gain? and how, reading these words, we, too, feel that sudden enlargement of the heart which it is the special office of the poet to bestow? But it is equally true that Browning's treatment of love, as in James Lee's Wife and In a Balcony, to name the poems nearest at hand, is for the most part so involved in his peculiar psychological method that we cannot for a moment forget ourselves in this freer emotion.

And in his attitude towards nature it is the same thing. I have not read Schopenhauer for many years, but I remember as if it were yesterday my sensation of joy as in the course of his argument I came upon these two lines quoted from Horace: