Browning's poetic play reveals to us in four scenes the other side of life, the happier people to whom Pippa referred in her soliloquy. We look first into the interior of the old house of which Pippa has spoken with a kind of awe, and see the proud Ottima who owns the mills where Pippa is but a poor worker. In the dark gloom of one of the rooms Ottima has become the sharer in a murder, and, under the influence of Pippa's song, which is heard outside, she and her companion realize their guilt and are overcome with remorse.
At noon we are introduced to a young artist, Jules, who is just bringing home his bride, Phene, whom he has married thinking her a princess, but who is really a poor, ignorant child. She has been employed unconsciously, to herself, and innocently used by some degraded artists as a means of rebuking the idealist, Jules. By this cruel trick they mean to crush him and reduce him to their own sensual level. Even letters which Jules has received from the supposed princess have been written by these perversions of human beings—who call themselves artists.
In her lovely innocence Phene is thrilled by Jules' tenderness. Her intuition tells her that something is wrong as she falters in rendering the lines the cruel painters have given her to read to Jules.
We see the blow fall upon the young dreamer as he makes the fearful discovery. In the agony of his disappointment he is about to renounce Phene forever as the artists, waiting outside to sneer at him, expect. The poor, innocent being, in whom his kindness and tenderness have stirred to life for the first time her womanly nature, is about to be cast out to a life of degradation and misery, when Pippa passes, singing. Her song awakens Jules to a higher feeling, to a more human and heroic determination; and the painters, waiting outside, are disappointed.
In the evening Pippa passes Luigi, an Italian patriot. He is meditating over the afflictions of his country and upon a plan to help it, while his mother is trying to dissuade him from the daring undertaking. The police and spies are waiting outside. If he goes he will not be arrested; if he stays they have orders to arrest him at once. At the moment of his wavering, when he is almost ready to obey his mother, Pippa's song arouses anew his patriotic being, and he resolutely goes forth to do a true heroic deed for his country. Thus Pippa saves him from imprisonment and death.
Night brings the last scene in the dramatic events of the world influenced by Pippa's songs. A room of the "palace by the Dome," of which Pippa seems to stand in so much awe, opens before us. Here we look into the face of the Monsignor, for whom she expressed reverence in the morning, and we find that the Monsignor and the dead brother whose home he comes to bless, are in reality Pippa's own uncles. The poor little girl, with only a nickname, is a child of an older brother and the real heir to the Palace, though of this she has never had the remotest dream. We see an insinuating villain tempting the Monsignor to allow him to do away with Pippa in a most horrible manner, and thus leave the Monsignor in sole possession of his brother's property.
During an intense moment Pippa passes and her singing outside causes her uncle to throttle the villain and call for help.
Then we see, at the close of the day, the little girl, unconscious of her share in the life of others, come back to her room and fall asleep murmuring her New Year's hymn which, in spite of appearances, she still trusts. We are left with the hope that she will awaken next day to realize who she is and come into her own.
Thus journey we all through life often forgetting that there is nothing small, that "there is no last nor first." We are conscious of noble aims, but oblivious of the real work we are doing and of our own identity.
What, do you ask, has such a poetic drama to do with such a commonplace subject as health or the prolonging of life?