The two series of _Dramatic Idyls_ included some conspicuous successes.

The cla.s.sical poems _Pheidippides_, _Echetlos_, _Pan and Luna_, idyls heroic and mythological, invite us by their beauty to return to them again and again. Browning's sympathy with gallantry in action, with self-devotion to a worthy cause, was never more vividly rendered than in the first of these poems. The runner of Athens is a more graceful brother of the Breton sailor who saved a fleet for France; but the vision of majestical Pan in "the cool of a cleft" exalts our human heroism into relation with the divine benevolence, and the reward of release from labour is proportionally higher than a holiday with the "belle Aurore." Victory and then domestic love is the human interpretation of Pan's oracular promise; but the gifts of the G.o.ds are better than our hopes and it proves to be victory and death:

He flung down his shield, Ran like fire once more: and the s.p.a.ce 'twixt the Fennel-field And Athens was stubble again, a field which a fire runs through, Till in he broke: "Rejoice, we conquer!" Like wine through clay, Joy in his blood bursting his heart, he died--the bliss!

The companion poem of Marathon, the story of the nameless clown, the mysterious holder of the ploughshare, is not less inspiring. The unknown champion, so plain in his heroic magnitude of mind, so brilliant as he flashes in the van, in the rear, is like the incarnated genius of the soil, which hides itself in the furrow and flashes into the harvest; and it is his glory to be obscured for ever by his deed--"the great deed ne'er grows small." Browning's development of the Vergilian myth--"si credere dignum est"--of Pan and Luna astonishes by its vehement sensuousness and its frank chast.i.ty; and while the beauty of the Girl-moon and the terror of her betrayal are realised with the utmost energy of imagination, we are made to feel that all which happens is the transaction of a significant dream or legend.

In contrast with these cla.s.sical pieces, _Halbert and Hob_ reads like a fragment from some Scandinavian saga telling of the life of forlorn and monstrous creatures, cave-dwellers, who are less men than beasts. Yet father and son are indeed men; the remorse which checks the last outrage against paternity is the touch of the finger of G.o.d upon human hearts; and though old Halbert sits dead,

With an outburst blackening still the old bad fighting face,

and young Hob henceforth goes tottering, muttering, mumbling with a mindless docility, they are, like Browning's men of the Paris morgue, only "apparent failures"; there was in them that spark of divine illumination which can never be wholly extinguished. Positive misdeeds, the presence of a wild crew of evil pa.s.sions, do not suffice to make Browning's faith or hope falter. It is the absence of human virtue which appals him; if the salt have lost its savour wherewith shall it be salted? This it is which condemns to a swift, and what the poem represents as a just, abolishment from earth the mother who in _Ivan Ivanovitch_ has given her children to the wolves, and has thereby proved the complete nullity of her womanhood. For her there is no possible redemption; she must cease to c.u.mber the ground. Ivan acts merely as the instinctive doomsman of Nature or of G.o.d, and the old village Pope, who, as the veil of life grows thin, is feeling after the law above human law, justifies the wielder of the axe, which has been no instrument of vengeance but simply an exponent of the wholesome vitality of earth. The objection that carpenters and joiners, who a.s.sume the Heraklean task of purging the earth of monsters, must be prepared to undergo a period of confinement at the pleasure of the Czar in a Criminal Lunatic Asylum is highly sensible, and wholly inappropriate, belonging, as it does, to a plane of thought and feeling other than that in which the poem moves.

But perhaps it is not a defect of feeling to fail in admiration of that admired final tableau in which the formidable carpenter is discovered building a toy Kremlin for his five children. We can take for granted that the excellent homicide, having done so simple a bit of the day's work as that of decapitating a fellow-creature, proceeds tranquilly to other innocent pleasures and duties; we do not require the ostentatious theatrical group, with limelight effects on the Kremlin and the honey-coloured beard, displayed for our benefit just before the curtain is rung down.[142]

[Ill.u.s.tration: SPECIMEN OF BROWNING'S HANDWRITING.

_From a letter to D.S. CURTIS, Esq._]

_Martin Relph_ is a story of life-long remorse, self-condemnation and self-denunciation; there is something approaching the supernatural, and yet terribly real, in the figure of the strange old man with a beard as white as snow, standing, on a bright May day, in monumental grief, and exposing his ulcerated heart to the spectators who form for him a kind of posterity. One instant's failure in the probation of life, one momentary syncope of his better nature long years ago, has condemned his whole after-existence to become a climbing of the purgatorial mount, with an agony of pain annually renewed at the season when the earth rejoices. Only a high-strung delicate spirit is capable of such a perennial pa.s.sion of penitence. _Ned Bratts_ may be described as a companion, but a contrasted piece. It is a story of sudden conversion and of penitence taking an immediate and highly effective form. The humour of the poem, which is excellent of its kind, resembles more the humour of Rowlandson than that of Hogarth. The Bedford Court House on the sweltering Midsummer Day, the Puritan recusants, reeking of piety and the cow-house conventicle, the Judges at high jinks upon the bench--to whom, all in a muck-sweat and ablaze with the fervour of conversion, enter Black Ned, the stout publican, and big Tab, his s.l.u.t of a wife,--these are drawn after the broad British style of humorous ill.u.s.tration, which combines a frank exaggeration of the characteristic lines with, at times, a certain grace in deformity. Here at least is downright belief in the invisible, here is genuine conviction driven home by the Spirit of G.o.d and the terror of h.e.l.l-fire. Black Ned and the s.l.u.t Tabby as yet may not seem the most suitable additions to the company of the blessed who move singing

In solemn troops and sweet societies;

but when a pair of l.u.s.ty sinners desire nothing so much as to be hanged, and that forthwith, we may take it that they are resolved, as "Christmas" was, to quit the City of Destruction; and the saints above have learnt not to be fastidious as they bend over repentant rogues.

Thanks to the grace of G.o.d and John Bunyan's book, husband and wife triumphantly aspire to and attain the gallows; "they were lovely and pleasant in their lives, and in their death they were not divided." A wise economy of spiritual force!--for while their effectual calling cannot be gainsaid, the final perseverance of these interesting converts, had they lingered on the pilgrims' way, as Ned is painfully aware, might have been less of a certainty.

Browning's method as a story-teller may be studied with special advantage in _Clive_. The circ.u.mstances under which the tale is related have to be caught at by the reader, which quickens his attention and keeps him on the alert; this device is, of course, not in itself difficult, but to employ it with success is an achievement requiring skill; it is a device proper to the dramatic or quasi-dramatic form; the speaker, who is by no means a Clive, has to betray something of his own character, and at the same time to set forth the character of the hero of his tale; the narrative must tend to a moment of culmination, a crisis; and that this should involve a paradox--Clive's fear, in the present instance, being not that the antagonist's pistol, presented at his head, should be discharged but rather that it should be remorsefully or contemptuously flung away--gives the poet an opportunity for some subtle or some pa.s.sionate casuistry. The effect of the whole is that of a stream or a shock from an electric battery of mind, for which the story serves as a conductor. It is not a simple but a highly complex species of narrative. In _Muleykeh_, one of the most delightful of Browning's later poems, uniting, as it does, the poetry of the rapture of swift motion with the poetry of high-hearted pa.s.sion, the narrative leads up to a supreme moment, and this resolves itself through a paradox of the heart. Shall Hoseyn recover his stolen Pearl of a steed, but recover her dishonoured in the race, or abandon her to the captor with her glory untarnished? It is he himself who betrays himself to loss and grief, for to perfect love, pride in the supremacy of the beloved is more than possession; and thus as Clive's fear was courage, as Ivan's violation of law was obedience to law, so Hoseyn's loss is Hoseyn's gain. In each case Browning's casuistry is not argumentative; it lies in an appeal to some pa.s.sion or some intuition that is above our common levels of pa.s.sion or of insight, and his power of uplifting his reader for even a moment into this higher mood is his special gift as a poet.

We can return safely enough to the common ground, but we return with a possession which instructs the heart.

A mood of acquiescence, which does not displace the moods of aspiration and of combat but rather floats above them as an atmosphere, was growing familiar to Browning in these his elder years. He had sought for truth, and had now found all that earth was likely to yield him, of which not the least important part was a conviction that much of our supposed knowledge ends in a perception of our ignorance. He was now disposed to accept what seemed to be the providential order that truth and error should mingle in our earthly life, that truth should be served by illusion; he would not rearrange the disposition of things if he could.

He was inclined to hold by the simple certainties of our present life and to be content with these as provisional truths, or as temporary illusions which lead on towards the truth. In the _Pisgah Sights_ of the _Pacchiarotto_ volume he had imagined this mood of acquiescence as belonging to the hour of death. But old age in reality is an earlier stage in the process of dying, and with all his ardour and his energy, Browning was being detached from the contentions and from some of the hopes and aspirations of life. And because he was detached he could take the world to his heart, though in a different temper from that of youth or middle age; he could limit his view to things that are near, because their claim upon his pa.s.sions had diminished while their claim upon his tenderness had increased. He could smile amiably, for to the mood of acquiescence a smile seems to be worth more than an argument. He could recall the thoughts of love, and reanimate them in his imagination, and could love love with the devotion of an old man to the most precious of the things that have been. Some of an old man's jests may be found in _Jocoseria_, some of an old man's imaginative pa.s.sion in _Asolando_, and in both volumes, and still more clearly in _Ferishtah's Fancies_ may be seen an old man's spirit of acquiescence, or to use a catch-word of Matthew Arnold, the epoch of concentration which follows an epoch of expansion. But the embrace of earth and the things of earth is like the embrace, with a pathos in its ardour, which precedes a farewell. From the first he had recognised the danger on the one hand of settling down to browse contentedly in the paddock of our earthly life, and on the other hand the danger of ignoring our limitations, the danger of attempting to "thrust in earth eternity's concerns." In his earlier years he had chiefly feared the first of these two dangers, and even while pointing out, as in _Paracelsus_, the errors of the seeker for absolute knowledge or for absolute love, he had felt a certain sympathy with such glorious transgressors. He had valued more than any positive acquisitions of knowledge those "grasps of guess, which pull the more into the less." Now such guesses, such hopes were as precious to him as ever, but he set more store than formerly by the certainties--certainties even if illusions--of the general heart of man.

These are the forms of thought and feeling divinely imposed upon us; we cannot do better than to accept them; but we must accept them only as provisional, as part of our education on earth, as a needful rung of the ladder by which we may climb to higher things. And the faith which leads to such acquiescence also results in the acceptance of hopes as things not be struggled for but rested in as a substantial portion of the divine order of our lives. In autumn come for spirits rightly attuned these pellucid halcyon days of the Indian summer.

In _Jocoseria_, which appeared in Browning's seventy-first year (1883), he shows nothing of his boisterous humour, but smiles at our human infirmities from the heights of experience. The prop of Israel, the much-enlightened master, "Eximious Jochanan Ben Sabbathai," when his last hour is at hand has to confess that all his wisdom of life lies in his theoric; in practice he is still an infant; striving presumptuously in boyhood to live an angel, now that he comes to die he is hardly a man. And Solomon himself is no more than man; the truth-compelling ring extorts the confession that an itch of vanity still tickles and teazes him; the Queen of Sheba, seeker for wisdom and patroness of culture, after all likes wisdom best when its exponents are young men tall and proper, and prefers to the solution of the riddles of life by elderly monarchs one small kiss from a fool. Lilith in a moment of terror acknowledges that her dignified reserve was the cloak of pa.s.sion, and Eve acknowledges that her profession of love was transferred to the wrong man; both ladies recover their self-possession and resume their make-believe decorums, and Adam, like a gallant gentleman, will not see through what is transparent. These are harmless jests at the ironies of life. Browning's best gifts in this volume, that looks pale beside its predecessors, are one or two short lyrics of love, which continue the series of his latest lyrical poems, begun in the exquisite prologue to _La Saisiaz_ and the graceful epilogue to _The Two Poets of Croisic_, and continued in the songs of _Ferishtah's Fancies_ and _Asolando_--not the least valuable part of the work of his elder years. His strength in this volume of 1883 is put into that protest of human righteousness against immoral conceptions of the Deity uttered by Ixion from his wheel of torture. Rather than obey an immoral supreme Power, as John Stuart Mill put it, "to h.e.l.l I will go"--and such is the cry of Browning's victim of Zeus. He is aware that in his recognition of righteousness he is himself superior to the evil G.o.d who afflicts him; and as this righteousness is a moral quality, and no creation of his own consciousness but rather imposed upon it as an eternal law, he rises past Zeus to the Potency above him, after which even the undeveloped sense of a Caliban blindly felt when he discovered a Quiet above the bitter G.o.d Setebos; but the Quiet of Caliban is a negation of those evil attributes of the supreme Being, which he reflects upwards from his own gross heart, not the energy of righteousness which Ixion demands in his transcendent "Potency." Into this poem went the energy of Browning's heart and imagination; some of his matured wisdom entered into _Jochanan Hakkadosh_, of which, however, the contents are insufficient to sustain the length. The saint and sage of Israel has at the close of his life found no solution of the riddle of existence. Lover, bard, soldier, statist, he has obtained in each of his careers only doubts and dissatisfaction. Twelve months added to a long life by the generosity of his admirers, each of whom surrenders a fragment of his own life to prolong that of the saint, bring him no clearer illumination--still all is vanity and vexation of spirit. Only at the last, when by some unexpected chance, a final opportunity of surveying the past and antic.i.p.ating the future is granted him, all has become clear. Instead of trying to solve the riddle he accepts it. He sees from his Pisgah how life, with all its confusions and contrarieties, is the school which educates the soul and fits it for further wayfaring. The ultimate faith of Jochanan the Saint had been already expressed by Browning:

Over the ball of it, Peering and prying, How I see all of it, Life there, outlying!

Roughness and smoothness, Shine and defilement, Grace and uncouthness: One reconcilement.

But even to his favourite disciple the sage is unable so to impart the secret that Tsaddik's mind shall really embrace it.

The spirit of the saint of Israel is also the spirit of that wise Dervish of Browning's invention (1884), the Persian Ferishtah. The volume is frankly didactic, and Browning, as becomes a master who would make his lessons easy to children, teaches by parables and pictures. In reading _Ferishtah's Fancies_ we might suppose that we were in the Interpreter's House, and that the Interpreter himself was pointing a moral with the robin that has a spider in his mouth, or the hen walking in a fourfold method towards her chickens. The discourses of the Dervish are in the main theological or philosophical; the lyrics, which are interposed between the discourses or discussions, are amatory. In Persian Poetry much that at first sight might be taken for amatory has in its inner meaning a mystical theological sense. Browning reverses the order of such poetry; he gives us first his doctrine concerning life or G.o.d, and gives it clothed in a parable; then in a lyric the subject is retracted into the sphere of human affections, and the truth of theology condenses itself into a corresponding truth respecting the love of man and woman.

Throughout the series of poems it is not a Persian Dervish who is the speaker and teacher; we hear the authentic voice of the Dervish born in Camberwell in the year 1812--Ferishtah-Browning. The doctrine set forth is the doctrine of Browning; the manner of speech is the manner of the poet. The ill.u.s.trations and imagery are often Oriental; the ideas are those of a Western thinker; yet no sense of discordance is produced. The parable of the starving ravens fed by an eagle serves happily as an induction; let us become not waiters on providence, but workers with providence; and to feed hungry souls is even more needful than to feed hungry bodies:

I starve in soul: So may mankind: and since men congregate In towns, not woods--to Ispahan forthwith!

Such is the lesson of energetic charity. And the lesson for the acceptance of providential gifts is that put in words by the poor melon-seller, once the Shah's Prime Minister--words spoken in the spirit of the afflicted Job--"Shall we receive good at the hand of G.o.d and shall we not receive evil?"[143] Or rather--Shall not our hearts even in the midst of evil be lifted up in grat.i.tude at the remembrance of the good which we have received? Browning proceeds, under a transparent veil of Oriental fable, to consider the story of the life of Christ. Do we believe in that tale of wonder in the full sense of the word belief?

The more it really concerns us, the more exacting grow our demands for evidence of its truth; an otiose a.s.sent is easy, but this has none of the potency of genuine conviction. And, after all, intellectual a.s.sent is of little importance compared with that love for the Divine which may co-exist as truly with denial as with a.s.sent. _The Family_ sets forth, through a parable, the wisdom of accepting and living in our human views of things transcendent. Why pray to G.o.d at all? Why not rather accept His will and His Providential disposition of our lives as absolutely wise, and right? That, Browning replies, may be the way of the angels.

We are men, and it is G.o.d's will that we should feel and think as men:

Be man and nothing more-- Man who, as man conceiving, hopes and fears, And craves and deprecates, and loves and loathes, And bids G.o.d help him, till death touch his eyes And show G.o.d granted most, denying all.

The same spirit of acceptance of our intellectual and moral limitations is applied in _The Sun_ to the defence of anthropomorphic religion. Our spirit, burdened with the good gifts of life, looks upward for relief in grat.i.tude and praise; but we can praise and thank only One who is righteous and loving, as we conceive righteousness and love. Let us not strive to pa.s.s beyond these human feelings and conceptions. Perhaps they are wholly remote from the unknown reality. They are none the less the conceptions proper to humanity; we have no capacities with which to correct them; let us hold fast by our human best, and preserve, as the preacher very correctly expressed it, "the integrity of our anthropomorphism." The "magnified non-natural man," and "the three Lord Shaftesburys" of Matthew Arnold's irony are regarded with no fine scorn by the intellect of Browning. His early Christian faith has expanded and taken the non-historical form of a Humanitarian Theism, courageously accepted, not as a complete account of the Unknowable, but as the best provisional conception which we are competent to form. This theism involves rather than displaces the truth shadowed forth in the life of Christ. The crudest theism would seem to him far more reasonable than to direct the religious emotions towards a "stream of tendency."

The presence of evil in a world created and governed by One all-wise, all-powerful, all-loving, is justified in _Mirhab Shah_ as a necessity of our education. How shall love be called forth unless there be the possibility of self-sacrifice? How shall our human sympathy be perfected unless there be pain? What room is there for thanks to G.o.d or love of man if earth be the scene of such a blank monotony of well-being as may be found in the star Rephan? But let us not call evil good, or think pain in itself a gain. G.o.d may see that evil is null, and that pain is gain; for us the human view, the human feeling must suffice. This justification of pain as a needful part of an education is, however, inapplicable to never-ending retributive punishment. Such a theological horror Browning rejects with a hearty indignation, qualified only by a humorous contempt, in his apologue of _A Camel-driver_; her driver, if the camel bites, will with good cause thwack, and so instruct the brute that mouths should munch not bite; he will not, six months afterwards, thrust red-hot p.r.o.ngs into the soft of her flesh to hiss there. And G.o.d has the advantage over the driver of seeing into the camel's brain and of knowing precisely what moved the creature to offend. The poem which follows is directed against asceticism. Self-sacrifice for the sake of our fellows is indeed "joy beyond joy." As to the rest--the question is not whether we fast or feast, but whether, fasting or feasting, we do our day's work for the Master. If we would supply joy to our fellows, it is needful that we should first know joy ourselves--

Therefore, desire joy and thank G.o.d for it!

Browning's argument is not profound, and could adroitly be turned against himself; but his temperament would survive his argument; his capacity for manifold pleasures was great, and he not only valued these as good in themselves, but turned them to admirable uses. A feast of the senses was to him as spiritually precious as a fast might be to one who only by fasting could attain to higher joys than those of sense. And this, he would maintain, is a better condition for a human being than that which renders expedient the plucking out of an eye, the cutting off of a hand. Joy for Browning means praise and grat.i.tude; and in recognising the occasions for such praise and thanks let us not wind ourselves too high. Let us praise G.o.d for the little things that are so considerately fitted to our little human wants and desires. The morning-stars will sing together without our help; if we must choose our moment for a _Te Deum_, let it be when we have enjoyed our plate of cherries. The glorious lamp in the Shah's pavilion lightens other eyes than mine; but to think that the Shah's goodness has provided slippers for my feet in my own small chamber, and of the very colour that I most affect! Nor, in returning thanks, should it cause us trouble that our best thanks are poor, or even that they are mingled with an alloy of earthly regards, "mere man's motives--"

Alas, Friend, what was free from this alloy,-- Some smatch thereof,--in best and purest love Preferred thy earthly father? Dust thou art, Dust shall be to the end.

Our little human pleasures--do they seem unworthy to meet the eye of G.o.d? That is a question put by distrust and spiritual pride. G.o.d gives each of us His little plot, within which each of us is master. The question is not what compost, what manure, makes fruitful the soil; we need not report to the Lord of the soil the history of our manures; let us treat the ground as seems best, if only we bring sacks to His granary in autumn. Nay, do not I also tickle the palate of my a.s.s with a thistle-bunch, so heartening him to do his work?

In _A Pillar at Sebzevah_, Ferishtah-Browning confronts the objection that he has deposed knowledge and degraded humanity to the rank of an a.s.s whose highest attainment is to love--what? "Husked lupines, and belike the feeder's self." The Dervish declares without shrinking the faith that is in him:--

"Friend," quoth Ferishtah, "all I seem to know Is--I know nothing save that love I can Boundlessly, endlessly."

[Ill.u.s.tration]

If there be knowledge it shall vanish away; but charity never faileth.

As for knowledge, the prize is in the process; as gain we must mistrust it, not as a road to gain:--

Knowledge means Ever-renewed a.s.surance by defeat That victory is somehow still to reach, But love is victory, the prize itself.

Grasping at the sun, a child captures an orange: what if he were to scorn his capture and refuse to suck its juice? The curse of life is this--that every supposed accession to knowledge, every novel theory, is accepted as a complete solution of the whole problem, while every pleasure is despised as transitory or insubstantial. In truth the drop of water found in the desert sand is infinitely precious; the mirage is only a mirage. Browning, who in this volume puts forth his own doctrine of theism, his justification of prayer, his belief in a superintending providence, his explanation of the presence of evil in the world, is, of course, no Pyrrhonist. He profoundly distrusts the capacity of the intellect, acting as a pure organ of speculation, to unriddle the mysteries of existence; he maintains, on the other hand, that knowledge sufficient for the conduct of our lives is involved in the simple experiences of good and evil, of joy and sorrow. In reality Browning's att.i.tude towards truth approaches more nearly what has now begun to style itself "Pragmatism" than it approaches Pyrrhonism; but philosophers whose joy is to beat the air may find that it is condemnatory of their methods.

In his distrust of metaphysical speculation and in regarding the affections as superior to the intellect, Browning as a teacher has something in common with Comte; but there is perhaps no creed so alien to his nature as the creed of Positivism. The last of Ferishtah's discourses is concerned with the proportion which happiness bears to pain in the average life of man, or rather--for Browning is nothing if he is not individualistic--in the life of each man as an individual. The conclusion arrived at is that no "bean-stripe"--each bean, white or black, standing for a day--is wholly black, and that the more extended is our field of vision the more is the general aspect of the "bean-stripe" of a colour intermediate between the extremes of darkness and of light. Before the poem closes, Browning turns aside to consider the Positivist position. Why give our thanks and praise for all the good things of life to G.o.d, whose existence is an inference of the heart derived from its own need of rendering grat.i.tude to some Being like ourselves? Are not these good things the gifts of the race, of Humanity, and its worthies who have preceded us and who at the present moment const.i.tute our environment of loving help? Ferishtah's reply, which is far from conclusive, must be regarded as no discussion of the subject but the utterance of an isolated thought. Praise rendered to Humanity and the heroes of the race simply reverts to the giver of the praise; his own perceptions of what is praiseworthy alone render praise possible; he must first of all thank and praise the giver of such perceptions--G.o.d. It is strange that Browning should fail to recognise the fact that the Positivist would immediately trace the power of moral perception to the energies of Humanity in its upward progress from primitive savagery to our present state of imperfect development.

It has been necessary to transcribe in a reduced form the teaching of Ferishtah, for this is the clearest record left by Browning of his own beliefs on the most important of all subjects, this is an essential part of his criticism of life, and at the same time it is little less than a pa.s.sage of autobiography. The poems are admirable in their vigour, their humour, their seriousness, their felicity of imagery. Yet the wisdom of _Ferishtah's Fancies_ is an old man's wisdom; we perceive in it the inner life, as Baxter puts it, in speaking of changes wrought by his elder years, quitting the leaves and branches and drawing down to the root. But when in prologue or epilogue to this volume or that Browning touches upon the great happiness, the great sorrow of his own life, he is always young. Here the lyrical epilogue is inspired by a n.o.ble enthusiasm, and closes with a surprise of beauty. What if all his happy faith in the purpose of life, and the Divine presence through all its course, were but a reflex from the private and personal love that had once been his and was still above and around him? Such a doubt contained its own refutation:

Only, at heart's utmost joy and triumph, terror Sudden turns the blood to ice: a chill wind disencharms All the late enchantment! What if all be error-- If the halo irised round my head were, Love, thine arms?

All the more, if this were so, must the speaker's heart turn G.o.dwards in grat.i.tude. The whole design of the volume with its theological parables and its beautiful lyrics of human love implies that there is a correspondency between the truths of religion and the truths of the pa.s.sion of love between man and woman.

FOOTNOTES:

[Footnote 141: Mr Gosse: "Dictionary of National Biography," Supplement, i. 317.]

[Footnote 142: Of the mother in this poem, a writer in the "Browning Society's Papers," Miss E.D. West, said justly: "There is discernible in her no soul which could be cleansed from guilt by any purgatorial process.... Her fault had not been moral, had not been sin, to be punished by pain inflicted on the soul; it was merely the uncounteracted primary instinct of self-preservation, and as such it is fitliest dealt with by the simple depriving her, without further penalty, of the very life which she had secured for herself at so horrible a cost."]

[Footnote 143: The story of the melon-seller was related by a correspondent of _The Times_ in 1846, and is told by Browning in a letter to Miss Barrett of Aug. 6 of that year. Thus subjects of verse rose up in his memory after many years.]

Chapter XVII

Closing Works and Days