"I cherish most
My love of England — how, her name, a word
Of hers in a strange tongue makes my heart beat!"
— it was of the mystic Orient or of the glowing South that he oftenest thought and dreamed. With Heine he might have cried: "O Firdusi! O Ischami! O Saadi! How do I long after the roses of Schiraz!" As for Italy, who of all our truest poets has not loved her: but who has worshipped her with so manly a passion, so loyal a love, as Browning? One alone indeed may be mated with him here, she who had his heart of hearts, and who lies at rest in the old Florentine cemetery within sound of the loved waters of Arno. Who can forget his lines in "De Gustibus", "Open my heart and you will see, graved inside of it, Italy."
It would be no difficult task to devote a volume larger than the present one to the descriptive analysis of none but the poems inspired by Italy, Italian personages and history, Italian Painting, Sculpture, Architecture, and Music. From Porphyria and her lover to Pompilia and all the direful Roman tragedy wherein she is as a moon of beauty above conflicting savage tides of passion, what an unparalleled gallery of portraits, what a brilliant phantasmagoria, what a movement of intensest life!
It is pleasant to know of one of them, "The Italian in England", that Browning was proud, because Mazzini told him he had read this poem to certain of his fellow-exiles in England to show how an Englishman could sympathise with them.
After leaving Russia the young poet spent the rest of his `Wanderjahr' in Italy. Among other places he visited was Asolo, that white little hill-town of the Veneto, whence he drew hints for "Sordello" and "Pippa Passes", and whither he returned in the last year of his life, as with unconscious significance he himself said, "on his way homeward."
In the summer of 1834, that is, when he was in his twenty-second year, he returned to Camberwell. "Sordello" he had in some fashion begun, but had set aside for a poem which occupied him throughout the autumn of 1834 and winter of 1835, "Paracelsus". In this period, also, he wrote some short poems, two of them of particular significance. The first of the series was a sonnet, which appeared above the signature `Z' in the August number of the `Monthly Repository' for 1834. It was never reprinted by the author, whose judgment it is impossible not to approve as well as to respect. Browning never wrote a good sonnet, and this earliest effort is not the most fortunate. It was in the `Repository' also, in 1835 and 1836, that the other poems appeared, four in all.
The song in "Pippa Passes", beginning "A King lived long ago," was one of these; and the lyric, "Still ailing, wind? Wilt be appeased or no?" afterwards revised and incorporated in "James Lee", was another. But the two which are much the most noteworthy are "Johannes Agricola" and "Porphyria". Even more distinctively than in "Pauline", in their novel sentiment, new method, and generally unique quality, is a new voice audible in these two poems. They are very remarkable as the work of so young a poet, and are interesting as showing how rapidly he had outgrown the influence of any other of his poetic kindred. "Johannes Agricola" is significant as being the first of those dramatic studies of warped religiosity, of strange self-sophistication, which have afforded so much matter for thought. In its dramatic concision, its complex psychological significance, and its unique, if to unaccustomed ears somewhat barbaric, poetic beauty, "Porphyria" is still more remarkable.
It may be of this time, though possibly some years later, that Mrs. Bridell-Fox writes: — "I remember him as looking in often in the evenings, having just returned from his first visit to Venice. I cannot tell the date for certain. He was full of enthusiasm for that Queen of Cities. He used to illustrate his glowing descriptions of its beauties, the palaces, the sunsets, the moonrises, by a most original kind of etching. Taking up a bit of stray notepaper, he would hold it over a lighted candle, moving the paper about gently till it was cloudily smoked over, and then utilising the darker smears for clouds, shadows, water, or what not, would etch with a dry pen the forms of lights on cloud and palace, on bridge or gondola on the vague and dreamy surface he had produced. My own passionate longing to see Venice dates from those delightful, well-remembered evenings of my childhood."
"Paracelsus", begun about the close of October or early in November 1834, was published in the summer of the following year. It is a poem in blank verse, about four times the length of "Pauline", with interspersed songs. The author divided it into five sections of unequal length, of which the third is the most extensive: "Paracelsus Aspires"; "Paracelsus Attains"; "Paracelsus"; "Paracelsus Aspires"; "Paracelsus Attains". In an interesting note, which was not reprinted in later editions of his first acknowledged poem, the author dissuades the reader from mistaking his performance for one of a class with which it has nothing in common, from judging it by principles on which it was not moulded, and from subjecting it to a standard to which it was never meant to conform. He then explains that he has composed a dramatic poem, and not a drama in the accepted sense; that he has not set forth the phenomena of the mind or the passions by the operation of persons and events, or by recourse to an external machinery of incidents to create and evolve the crisis sought to be produced. Instead of this, he remarks, "I have ventured to display somewhat minutely the mood itself in its rise and progress, and have suffered the agency, by which it is influenced and determined, to be generally discernible in its effects alone, and subordinate throughout, if not altogether excluded: and this for a reason. I have endeavoured to write a poem, not a drama." A little further, he states that a work like "Paracelsus" depends, for its success, immediately upon the intelligence and sympathy of the reader: "Indeed, were my scenes stars, it must be his co-operating fancy which, supplying all chasms, shall connect the scattered lights into one constellation — a Lyre or a Crown."
In the concluding paragraph of this note there is a point of interest — the statement of the author's hope that the readers of "Paracelsus" will not "be prejudiced against other productions which may follow in a more popular, and perhaps less difficult form." From this it might fairly be inferred that Browning had not definitively adopted his characteristic method: that he was far from unwilling to gain the general ear: and that he was alert to the difficulties of popularisation of poetry written on lines similar to those of "Paracelsus". Nor would this inference be wrong: for, as a matter of fact, the poet, immediately upon the publication of "Paracelsus", determined to devote himself to poetic work which should have so direct a contact with actual life that its appeal should reach even to the most uninitiate in the mysteries and delights of verse.