Imprisoned within the four walls of her room, with books for her world and large humanity for her thought, the lamp of life burning so low at times that a feather would be placed on her lips to prove that there was still breath, Elizabeth Barrett read and wrote, and "heard the nations praising" her "far off." She loved
"Art for art,
And good for God himself, the essential Good,"
until destiny (a destiny with God in it) brought two poets face to face and heart to heart. Mind had met mind and recognized its peer previously to that personal interview which made them one in soul; but it was not until after an acquaintance of two years that Elizabeth Barrett and Robert Browning were united in marriage for time and for eternity, a marriage the like of which can seldom be recorded. What wealth of love she could give is evidenced in those exquisite sonnets purporting to be from the Portuguese, the author being too modest to christen them by their right name, Sonnets from the Heart. None have failed to read the truth through this slight veil, and to see the woman more than the poet in such lines as these:—
"I yield the grave for thy sake, and exchange
My near sweet view of heaven for earth with thee!"
We have only to turn to the concluding poem in "Men and Women," inscribed to E.B.B., to see how reciprocal was this great love.
From their wedding-day Mrs. Browning seemed to be endowed with new life. Her health visibly improved, and she was enabled to make excursions in England prior to her departure for the land of her adoption, Italy, where she found a second and a dearer home. For nearly fifteen years Florence and the Brownings have been one in the thoughts of many English and Americans; and Casa Guidi, which has been immortalized by Mrs. Browning's genius, will be as dear to the Anglo-Saxon traveller as Milton's Florentine residence has been heretofore. Those who now pass by Casa Guidi fancy an additional gloom has settled upon the dark face of the old palace, and grieve to think that those windows from which a spirit-face witnessed two Italian revolutions, and those large mysterious rooms where a spirit-hand translated the great Italian Cause into burning verse, and pleaded the rights of humanity in "Aurora Leigh," are hereafter to be the passing homes of the thoughtless or the unsympathizing.
Those who have known Casa Guidi as it was could hardly enter the loved rooms now and speak above a whisper. They who have been so favored can never forget the square anteroom, with its great picture and piano-forte, at which the boy Browning passed many an hour,—the little dining-room covered with tapestry, and where hung medallions of Tennyson, Carlyle, and Robert Browning,—the long room filled with plaster casts and studies, which was Mr. Browning's retreat,—and, dearest of all, the large drawing-room, where she always sat. It opens upon a balcony filled with plants, and looks out upon the old iron-gray church of Santa Felice. There was something about this room that seemed to make it a proper and especial haunt for poets. The dark shadows and subdued light gave it a dreamy look, which was enhanced by the tapestry-covered walls and the old pictures of saints that looked out sadly from their carved frames of black wood. Large book-cases, constructed of specimens of Florentine carving selected by Mr. Browning, were brimming over with wise-looking books. Tables were covered with more gayly bound volumes, the gifts of brother authors. Dante's grave profile, a cast of Keats's face and brow taken after death, a pen-and-ink sketch of Tennyson, the genial face of John Kenyon, Mrs. Browning's good friend and relative, little paintings of the boy Browning, all attracted the eye in turn, and gave rise to a thousand musings. A quaint mirror, easy-chairs and sofas, and a hundred nothings that always add an indescribable charm, were all massed in this room. But the glory of all, and that which sanctified all, was seated in a low arm-chair near the door. A small table, strewn with writing-materials, books, and newspapers, was always by her side.
To those who loved Mrs. Browning (and to know her was to love her) she was singularly attractive. Hers was not the beauty of feature; it was the loftier beauty of expression. Her slight figure seemed hardly large enough to contain the great heart that beat so fervently within, and the soul that expanded more and more as one year gave place to another. It was difficult to believe that such a fairy hand could pen thoughts of such ponderous weight, or that such a "still small voice" could utter them with equal force. But it was Mrs. Browning's face upon which one loved to gaze,—that face and head which almost lost themselves in the thick curls of her dark brown hair. That jealous hair could not hide the broad, fair forehead, "royal with the truth," as smooth as any girl's, and
"Too large for wreath of modern wont."
Her large brown eyes were beautiful, and were in truth the windows of her soul. They combined the confidingness of a child with the poet-passion of heart and of intellect; and in gazing into them it was easy to read why Mrs. Browning wrote. God's inspiration was her motive power, and in her eyes was the reflection of this higher light.