The blank verse of Tennyson is probably to be regarded as the most masterly found among modern poets.[34] Its flexibility is almost infinite, yet never unmelodious. The last of the specimens just quoted illustrates his use of blank verse for short lyrical poems,—an unusual and notable achievement. Perhaps only Collins's Ode to Evening can be compared with his success in this direction, and Collins used a more elaborate strophe to fill, in part, the place of rime. Of the unrimed lyrics in The Princess, Mr. Symonds says that they "are perfect specimens of most melodious and complete minstrelsy in words." In the "Tears, Idle Tears," he goes on to say, the verse "is divided into periods of five lines, each of which terminates with the words 'days that are no more.' This recurrence of sound and meaning is a substitute for rhyme, and suggests rhyme so persuasively that it is impossible to call the poem mere blank verse." See also the specimens on p. [144] above.
In the case of both Tennyson and Browning the student should compare the form of the narrative blank verse on the one hand with that of the dramatic on the other. Yet in a sense all Browning's blank verse is dramatic. It is no less flexible than Tennyson's, but (as in most of Browning's poetry) sacrifices more of melody in adapting itself to the thought.
To live, and see her learn, and learn by her,
Out of the low obscure and petty world—
Or only see one purpose and one will
Evolve themselves i' the world, change wrong to right:
To have to do with nothing but the true,
The good, the eternal—and these, not alone,
In the main current of the general life,
But small experiences of every day,
Concerns of the particular hearth and home:
To learn not only by a comet's rush
But a rose's birth,—not by the grandeur, God,
But the comfort, Christ. All this, how far away!
Mere delectation, meet for a minute's dream!—
Just as a drudging student trims his lamp,
Opens his Plutarch, puts him in the place
Of Roman, Grecian; draws the patch'd gown close,
Dreams, "Thus should I fight, save or rule the world!"
Then smilingly, contentedly, awakes
To the old solitary nothingness.
So I, from such communion, pass content.—
O great, just, good God! Miserable me!
(Browning: The Ring and the Book; Caponsacchi. 1868.)
The Ring and the Book Professor Corson calls "the greatest achievement of the century ... in the effective use of blank verse in the treatment of a great subject.... Its blank verse, while having a most complex variety of character, is the most dramatic blank verse since the Elizabethan era.... One reads it without a sense almost of there being anything artificial in the construction of the language; ... one gets the impression that the poet thought and felt spontaneously in blank verse." (Primer of English Verse, pp. 224, 225.)
This eve's the time,
This eve intense with yon first trembling star
We seem to pant and reach; scarce aught between
The earth that rises and the heaven that bends;
All nature self-abandoned, every tree
Flung as it will, pursuing its own thoughts
And fixed so, every flower and every weed,
No pride, no shame, no victory, no defeat;
All under God, each measured by itself.
These statues round us stand abrupt, distinct,
The strong in strength, the weak in weakness fixed,
The Muse forever wedded to her lyre,
Nymph to her fawn, and Silence to her rose:
See God's approval on his universe!
Let us do so—aspire to live as these
In harmony with truth, ourselves being true!
Take the first way, and let the second come!
(Browning: In a Balcony. 1855.)
The very God! think, Abib; dost thou think?
So, the All-Great were the All-Loving too—
So, through the thunder comes a human voice
Saying, "O heart I made, a heart beats here!
Face, my hands fashioned, see it in myself!
Thou hast no power nor may'st conceive of mine,
But love I gave thee, with myself to love,
And thou must love me who have died for thee."
The madman saith He said so: it is strange.
(Browning: Epistle of Karshish. 1855.)
God's works—paint any one, and count it crime
To let a truth slip. Don't object, "His works
Are here already; nature is complete:
Suppose you reproduce her—(which you can't)
There's no advantage! you must beat her, then."
For, don't you mark? we're made so that we love
First when we see them painted, things we have passed
Perhaps a hundred times nor cared to see;
And so they are better, painted—better to us,
Which is the same thing. Art was given for that;
God uses us to help each other so,
Lending our minds out.