The materialist who believes in Forces is brother to the Calvinist who preaches Sovereignty and the Divine Decrees. The preacher lets loose upon the imagination of mankind a Setebos, who after death will plague his enemies and feast his friends. The materialist believes, with Caliban, that
"He doth his worst in this our life,
Giving just respite lest we die through pain,
Saving last pain for worst,—with which, an end."
The grave irony of this poem so bespatters the theologian's God with his own mud that we dread the image and recoil. From the unsparing vigor of these lines we turn for relief to "Rabbi Ben Ezra" and "Prospice." In both of these we have glimpses of Mr. Browning's true theology, which is the faith of his whole soul in the excellence of that world whose beauty he interprets, of the human nature whose capacity he does so much to "keep in repute," and of the Infinite Love.
"Praise be Thine!
I see the whole design,
I, who saw Power, shall see Love perfect too:
Perfect I call thy plan:
Thanks that I was a man!
Maker, remake, complete,—I trust what Thou shalt do!"
We find in this new volume more distinct and tranquil expressions of Mr. Browning's thought upon the relation of the finite to the infinite than he has given us before. And his pen has turned with freedom and satisfaction towards these things, as if the imagination had broken new outlets for itself through the world's beautiful horizon into the great sea. How "like one entire and perfect chrysolite" is the little piece called "Prospice"! But we are all the more surprised to see occasionally a touch of the genuine British denseness, whenever he recollects that there are such people as Strauss, Bishop Colenso, and the men of the "Essays and Reviews" prowling around the preserve where the ill-kept Thirty-Nine Articles still find a little short grass to nibble. When we read the last three verses of "Gold Hair," we set him down for a High-Church bigot: the English discussions upon points of exegesis and theology appear to him threatening to prove the Christian faith false, but for his part he still sees reasons to suppose it true, and this, among others, that it taught Original Sin, the Corruption of Man's Heart! We escape from this to "Rabbi Ben Ezra" for reassurance, not greatly minding the inconsistency that then appears, but confirmed in an old opinion of ours, that John Bull, in this matter of theology, has his mumps and scarlatina very late, and they are likely to go hard with a constitution that is weaned from the pure truth of things.
"Gold Hair," notwithstanding its picturesque lines, is weak and inconclusive. Its moral is conventional, while the incident is too far-fetched for sympathy. The series of little poems called "James Lee" is full of beauties, but it is too vague to make a firm impression. We suppose it tells the story of love that exaggerates a common nature, clings to it, and shrivels away. What can be finer than the way in which an unsatisfied heart makes the wind the interpreter of its pain and dread? This is the sixth poem, "Under the Cliff."
"Or wouldst thou rather that I understand
Thy will to help me?—like the dog I found
Once, pacing sad this solitary strand,
Who would not take my food, poor hound,
But whined and licked my hand."
But in this very poem the figure of the nun is artificial, and interrupts the pathetic feeling. And we cannot make anything out of the piece, "Beside the Drawing-Board," unless we first detach it from its position in the series, and like it alone. On the whole, many fine lines are here, but no real person and no poetic impression.
Neither the dramatic nor the lyrical quality appears in this volume as it did once in the splendid "Bells and Pomegranates," which gave us such vivid shapes, and emotions so consistent and sustained, even though they were so often flawed by over-reflection. In this volume the purposes are less palpable, and the pen seems to have pursued them with less tenacity than usual. It has the air of having been scraped together. Yet how charming is "Confessions," and "Youth and Art," and "A Likeness"! Besides these, the best pieces are those which touch upon the highest themes.
"Mr. Sludge, the Medium," cannot be called a poem. It would not be possible to write satire, epic, idyl, not even elegy, upon that "rat-hole philosophy," as Mr. Emerson once styled the new fetichism of the mahogany tables. It has not one element that asks the sense of beauty to incorporate it, or challenges the weapon of wit to transfix it. It is humiliating, but not pathetic, not even when yearning hearts are trying to pretend that their first-born vibrates to them through a stranger's and a hireling's mind. It is not even grotesque, but it is gross, and flat, and stale; its messages are fatuous, its machinery the rickety heirlooms of old humbugs of Greece and Alexandria. No thrill, no terror, no true awe, nothing but "goose-flesh" and disgust, creep from the medium's presence. Pegasus need not be saddled; summon, rather, the police.