Is Browning to be ranked as a legitimate member of the Victorian School?
Certainly he is. If any one tries to prove that he is not entitled to the claim, it must be because the poet has so much more of brilliant mental make-up than most of the Victorian writers that the critics are dazzled.
They want to cut and fit a man's ability and achievement to a particular class of work, to press him down, as it were, into a jelly-mould and say, "There, take that shape and mind, not a drop of you is to spill over!" It is a good deal like a woman when asked her age; she often says, "I am twenty"; so she is, dear thing, and frequently much more, besides. Our poet is a Victorian poet and gloriously transcends them all. "If this be treason, make the most of it." My opponent is no doubt carefully writing down this challenge with a view to crushing me later, but unlike my sex in general, I do not want the last word, if I can only get the first. "He laughs best who laughs last" has always had rather a prejudiced sound in my ears; on the contrary, he who makes the first score has often a tremendous advantage. A charming young artist, a friend of mine, has thrown a certain light upon the subject of this debate: She said, "Victorian always suggests to me something housekeepery and mutton-choppy: Is Browning mutton-choppy?" I suppose that the adversary will answer this.
In one of the popular manuals of English literature, we find Tennyson and Browning described as the two masters of Victorian poetry. My definition of a poet of the Victorian School would be that he should combine a musical versification with ethical, philosophical and artistic thought. I believe that Tennyson is generally received as an example. If Shelley be accepted as a Victorian School poet, then it is absolutely certain that Browning, having absorbed Shelley until poetic inspiration was fused to a white heat, may be held to represent the Victorian School in gigantic and overwhelming form. Although it has been said that "until late years Browning has been entirely at variance with the tendencies of his time and for nearly forty years represented that opposition to the poetry of the age which has recently been made prominent by a small band of poetical innovators of whom Swinburne is the most extreme," still I feel justified in my claim. Browning incorporated the introspective philosophy of his period in his work, and also displayed in many of his writings the musical sweetness which is supposed especially to mark the Victorian poets. Think of his poem of 'Saul,' forceful, yet melodious, suffused with the intense interest of the Biblical story, glorified by the superb imagery of a mind dwelling in a time of psychological inquiry. Almost the whole of 'Asolando' is musical. Remember the poem 'Reverie':
"I know there shall dawn a day
--Is it here on homely earth?
Is it yonder, worlds away,
Where the strange and new have birth
That Power comes full in play?"
Note the influence which contemporary events must have on a man like Browning: in 1851 the great Exhibition, the first of the series held later in different countries, and stimulating in its effects upon the intellectual, social and spiritual culture of the poet: in 1854 the Crimean War, conducted with France against Russia who had appropriated the Turkish principalities of Moldavia and Wallachia, and made famous by such battles as Alma, Balaklava and Inkermann. In 1853 came Florence Nightingale with her reform in hospital service. In 1858 the Atlantic cable was laid. In 1888 came the "Philadelphia Browning Society." No one of the Victorian poets was mentally organized by these events, the last excepted, as was Browning. The critic Alexander has said "A man's work is determined not only by the character of his genius, but also by the conditions of his age. Homer would not write a great epic, were he alive now, nor Shakespeare great dramas."