They were married September 12, 1846. She would not entangle Mr. Kenyon or any of her friends by announcing even her engagement; she preferred marrying without her father's knowledge, to marrying against his prohibition. For a week the husband and wife did not see each other. Then they met by agreement and went to Paris. Mr. Barrett never forgave his daughter, but the consternation with which the Browning family heard of the event quickly turned to affectionate regard for the frail wife. So far as Mrs. Browning's physical well-being was concerned, it is clear that the marriage gave her a new lease of life; and what seemed at the moment an audacious taking of fate into their own hands proved to be a case where nature obtained her best of both.
From Paris, by slow stages, they passed through France into Italy, and made their first long halt in Pisa. It was here, we are told, that Mrs. Browning showed to her husband in manuscript those Sonnets from the Portuguese which were her offering to him out of the darkness of her chamber. From Pisa they went to Florence, to Ancona, and again back to Florence, where at last they obtained a foothold in the old palace called Casa Guidi, a name to be endeared to the readers of Mrs. Browning's poetry. Mr. George S. Hillard, in his Six Months in Italy, gives a pleasant account of the Brownings when he met them in Florence in 1847.
"It is well for the traveller to be chary of names. It is an ungrateful return for hospitable attentions to print the conversation of your host, or describe his person, or give an inventory of his furniture, or proclaim how his wife and daughters were dressed. But I trust I may be pardoned if I state that one of my most delightful associations with Florence arises from the fact that here I made the acquaintance of Robert and Elizabeth Browning. These are even more familiar names in America than in England, and their poetry is probably more read, and better understood with us than among their own countrymen. A happier home and a more perfect union than theirs it is not easy to imagine; and this completeness arises not only from the rare qualities which each possesses, but from their adaptation to each other. Browning's conversation is like the poetry of Chaucer, or like his own, simplified and made transparent. His countenance is so full of vigor, freshness, and refined power, that it seems impossible to think that he can ever grow old. His poetry is subtle, passionate, and profound; but he himself is simple, natural, and playful. He has the repose of a man who has lived much in the open air; with no nervous uneasiness and no unhealthy self-consciousness. Mrs. Browning is in many respects the correlative of her husband. As he is full of manly power, so she is a type of the most sensitive and delicate womanhood. She has been a great sufferer from ill-health, and the marks of pain are stamped upon her person and manner. Her figure is slight, her countenance expressive of genius and sensibility, shaded by a veil of long brown locks; and her tremulous voice often flutters over her words, like the flame of a dying candle over the wick. I have never seen a human frame which seemed so nearly a transparent veil for a celestial and immortal spirit. She is a soul of fire enclosed in a shell of pearl. Her rare and fine genius needs no setting forth at my hands. She is also, what is not so generally known, a woman of uncommon, nay, profound learning, even measured by a masculine standard. Nor is she more remarkable for genius and learning, than for sweetness of temper, tenderness of heart, depth of feeling, and purity of spirit. It is a privilege to know such beings singly and separately, but to see their powers quickened, and their happiness rounded, by the sacred tie of marriage, is a cause for peculiar and lasting gratitude. A union so complete as theirs—in which the mind has nothing to crave nor the heart to sigh for—is cordial to behold and something to remember."
During the fifteen years of their married life the Brownings lived for the most part in Italy, with occasional summers in England and long sojourns in Paris. The record of Browning's productions during this period is meagre, if one regards the fulness of his poetic activity both before and after. The explanation is made that these new responsibilities,—for two sons were born to them, one of whom died,—carried also great anxieties, for the frailty of Mrs. Browning's health was a constant factor in the movements of the household. But though the record is meagre as to quantity, lovers of Browning's poetry would be likely to regard this as not only a central period, chronologically, but the period when he reached his highest expression. The first collected edition of his poems appeared in 1849, to be followed the next year by Christmas-Eve and Easter-Day, and then, five years after that, in 1855, by Men and Women, a group of poems which still remains the flower of Browning's genius.
The great range taken by these poems is a witness to the fecundity and versatility of Browning's genius. It is possible, also, that to the circumstances of his life, especially its beautiful distractions, we owe the fact of a multitude of short poems rather than longer-sustained efforts. While Mrs. Browning, sheltered by the constant care exerted by her husband and stimulated by his companionship, composed her longest work, Aurora Leigh, he, never long freed from anxious thought, broke into more fragmentary production. A very good illustration of the alacrity of his mind and the instantaneous power of seizing upon opportunity is given in a passage in Mr. Gosse's Personalia:—
"In recounting a story of some Tuscan noblemen who had shown him two exquisite miniature-paintings, the work of a young artist who should have received for them the prize in some local contest, and who, being unjustly defrauded, broke his ivories, burned his brushes, and indignantly foreswore the thankless art forever, Mr. Browning suddenly reflected that there was, as he said, 'stuff for a poem' in that story, and immediately with extreme vivacity began to sketch the form it should take, the suppression of what features and the substitution of what others were needful; and finally suggested the non-obvious or inverted moral of the whole, in which the act of spirited defiance was shown to be, really, an act of tame renunciation, the poverty of the artist's spirit being proved in his eagerness to snatch, even though it was by honest merit, a benefit simply material. The poet said, distinctly, that he had never before reflected on this incident as one proper to be versified; the speed, therefore, with which the creative architect laid the foundations, built the main fabric, and even put on the domes and pinnacles of his poem was, no doubt, of uncommon interest. He left it, in five minutes, needing nothing but the mere outward crust of the versification."
It was an incident in Browning's life that when he was producing his most glorious work and receiving the admiration and intelligent appreciation of his poetical wife, he was a very insignificant figure in English literature of the day. Mrs. Browning was indignant over the neglect her husband suffered, and in her letters drew sharp comparison between the attention paid Browning in America and the neglect he received in England. Meanwhile, whether living in Florence or sojourning in Paris or London, a choice company was always to be found welcoming and honoring the two poets. Mr. and Mrs. Story, the Hawthornes, Cardinal Manning, Massimo d'Azeglio, Sir Frederick Leighton, Mr. Odo Russell, Rossetti, Val Prinsep, Forster, Landor, Fanny Kemble,—these are some of the names closely associated with that of the Brownings in this period.
The death of Mrs. Browning, June 29, 1861, closed this most beautiful human companionship. It made also a great change in Browning's habit of life, and no doubt affected in important ways his poetical productiveness. He left Italy for England. He became absorbed, so far as personal responsibilities went, in the education of his son. By some strange caprice, he chose to make his home in an ugly part of London, and he approached it through a region of disorder and squalor. But he also, with his robust nature, denied himself the luxury of a persistent solitariness, and little by little returned to society, especially grateful for the friendship of women like Miss Isa Blagden, who stepped in at the moment of his descent into the valley of grief with their gentle ministrations.
The months that followed Mrs. Browning's death were in a way given to taking up again dropped threads of work, and to intellectual occupations, which both satisfied and stimulated his nature. He read Euripides again, perhaps in part because of the association in his mind with his wife's scholarly interests. He resumed the poems on which he had been engaged in the last months at Casa Guidi, and he pondered over his magnum opus, the germ of which had been in his mind for many months. But first, in 1863, he saw through the press a new and complete collection of his poetical works in three volumes. Then, the year following, he gathered the poems which immediately preceded and followed Mrs. Browning's death into the volume of Dramatis Personæ. The reissue of his older poems and this new accession were accompanied by a clear re-enforcement of his position as an English poet. He had come, too, to the point where volumes of selections from his work were in demand, a pretty good sign of a widening of his audience. Other signs followed. In 1867 he received the honorary degree of M. A. from the University of Oxford, and a few months later was made honorary fellow of Balliol College. In the year following he was asked to stand for the Lord Rectorship of the University of St. Andrews, rendered vacant by the death of J. S. Mill.