"The man can't stoop
To sing us out, quoth he, a mere romance;
He'd fain do better than the best, enhance
The subjects' rarity, work problems out
Therewith: now, you're a bard, a bard past doubt,
And no philosopher; why introduce
Crotchets like these? fine, surely, but no use
In poetry,—which still must be, to strike,
Eased upon common sense; there's nothing like
Appealing to our nature!"
Find the rest of Mr. Average's argument on page 67.
These objections to the poetry of Mr. Browning, which the dense, involved, and metaphysical treatment of "Sordello" first suggested to the public, are made to apply to all his subsequent writings. We concede that "Sordello" over-refines, and that, after reading it, "who would has heard Sordello's story told," but who would not and could not has probably not heard it. The very time of the poem, which is put several centuries back amid the scenery of the Guelph and Ghibelline feuds, as if to make the struggle of a humane and poetic soul to grow, to become recognized, to find a place and purpose, seem still more premature, puzzles the reader with remote allusions, with names that belong to obscure Italian narrative, with motives and events that require historical analysis. The poem is impatient with those very things which make the environment of the bard Sordello, and treats them in curt lines. A character is jammed into a sentence, like a witch into a snuff-box, the didactic parts grow metaphysical, and the life of Sordello does not fuse the events of the poem into one long rhythm. He thinks and dreams apart, and Palma's ambition for him is an aside, and the events swing their arms and strike fiery and cruel blows with Sordello absent. Considering Mr. Browning's intent, there is a fine poetic success in this very fault of the poem, but it is not a plain one, and is an after-thought of the critic. The numerous splendid pages in "Sordello" do nothing towards making one complete impression which cannot be evaded. Naddo, the genius-haunter, would complain, that, in struggling out towards these aisles of beauty, he had seriously compromised his clothing in the underbrush.
But the faults which characterize "Sordello" are not prevalent in the subsequent writings which are loosely accused of them. They become afterwards exceptional, they vein here and there the surface, and Mr. Average stumbles over them and proceeds no farther. Still, Mr. Browning's verse is not easy reading. He is economical of words to the point of harmony; but what a hypocrite he would be, if he used more! He brings you meaning, if you bring him mind; and there is Tupper outside, if you don't care to trouble yourself. In saying this we are not arrogant at all, for there is a large and widening sympathy with Mr. Browning's thought. Perhaps a whole generation of readers will fretfully break itself upon his style, and pass away, before the mind hails with ease his merits. But is Shakspeare's verse easy reading? Not to this day, in spite of his level of common sense, the artlessness of his passion, and the broad simplicity of a great imagination, that causeth its sun to shine on the evil and the good. It was easy reading to Ben Jonson, to Milton, and to Chapman; it took "Eliza and our James"; it had more theatrical success than the scholarly plays of Jonson: but two or three centuries have exhausted neither his commentators nor the subtile parts that need a comment. A good deal of Shakspeare is read, but the rest is caviare to the multitude. We need not comfort ourselves on the facility with which we take his name in vain. We venture to say that the whole of Shakspeare's thought is inwardly tasted by as many people as enjoy the subtilty of Robert Browning. Shakspeare has broader places over which the waters lie, sweet and warm, to tempt disporting crowds, and places deep as human nature, upon whose brink the pleasure-seekers peer and shudder. But if Mr. Browning had a theatrical ability equal to his dramatic, and were content to exhibit a greater number of the stock-figures of humanity, men would say that here again they had love that maddened and grief that shattered, murdering ambition, humorous weakness, and imagination that remarries man and Nature.
Mr. Browning's literary and artistic allusions prevent a ready appreciation of his genius. "Sordello" needs a key. How many friends, "elect chiefly for love," have spent time burrowing in encyclopædias, manuals of history, old biographies, dictionaries of painting, and the like, for explanations of the remote knowledge which Mr. Browning uses as if it had been left at the door with the morning paper! On the very first page, who is "Pentapolin, named o' the Naked Arm"? If a man had just read Don Quixote, he might single out Pentapolin. Taurello and Ecelin were not familiar,—nor the politics of Verona, Padua, Ferrara, six hundred years ago. There was not a lively sympathy with Sordello himself. Who were the "Pisan pair"? Lanzi's pages were turned up to discover. And Greek scholars recognized the "Loxian." But any reader might be pardoned for not at once divining that the double rillet of minstrelsy, on page 37, was the Troubadour and the Trouvere, nor for refusing to read pages 155 and 156 without a tolerable outfit of information upon the historical points and personages there catalogued.
There are not a few pages that appear like a long stretch of prose suddenly broken up and jammed in the current; some of the ends stick out, some have gone under, the sense has grown hummocky, and the reader's whole faculty turns to picking his way. Take, for instance, page 95, of which we have prepared a translation, but considerately withhold it.
But turn now to the famous marble font, sculptured afresh in those perfect lines which begin at the middle of page 16, with the picture of the Castle Goito and the maple-panelled room. Here the boy Sordello comes every eve, to visit the marble standing in the midst, to watch the mute penance of the Caryatides, who flush with the dawn of his imagination. Read the description of his childhood, from page 25, and the delights of his opening fancy:—
"He e'er-festooning every interval,
As the adventurous spider, making light
Of distance, shoots her threads from depth to height,
All these pages are filled with poetry; the reflective element does not dominate severely. Bordello's youthful genius craves sympathy, and he finds it by investing Nature with fanciful forms and attributes. He is Apollo,—"that shall be the name." How he ransacks the world for his youth's outfit, as he climbs the ravine in the June weather, and emerges into the forest, which tries "old surprises on him," amid which he lingers, deep in the stratagems of his own fancy, till