"R-r-r, you brute-beast and blackguard! Cowardly scamp!
I only wish I dared burn down the house
And spoil your sniggering!"
and so on, and so on.
He would react like this; it is one of the most artistic strokes in Browning. But it does not prove that he was a hypocrite about spiritualism, or that he was speaking more truthfully in the second outburst than in the first. Whence came this extraordinary theory that a man is always speaking most truly when he is speaking most coarsely? The truth about oneself is a very difficult thing to express, and coarse speaking will seldom do it.
When we have grasped this point about "Sludge the Medium," we have grasped the key to the whole series of Browning's casuistical monologues—Bishop Blaugram's Apology, Prince Hohenstiel-Schwangau, Fra Lippo Lippi, Fifine at the Fair, Aristophanes' Apology, and several of the monologues in The Ring and the Book. They are all, without exception, dominated by this one conception of a certain reality tangled almost inextricably with unrealities in a man's mind, and the peculiar fascination which resides in the thought that the greatest lies about a man, and the greatest truths about him, may be found side by side in the same eloquent and sustained utterance.
"For Blougram, he believed, say, half he spoke."
Or, to put the matter in another way, the general idea of these poems is, that a man cannot help telling some truth even when he sets out to tell lies. If a man comes to tell us that he has discovered perpetual motion, or been swallowed by the sea-serpent, there will yet be some point in the story where he will tell us about himself almost all that we require to know.
If any one wishes to test the truth, or to see the best examples of this general idea in Browning's monologues, he may be recommended to notice one peculiarity of these poems which is rather striking. As a whole, these apologies are written in a particularly burly and even brutal English. Browning's love of what is called the ugly is nowhere else so fully and extravagantly indulged. This, like a great many other things for which Browning as an artist is blamed, is perfectly appropriate to the theme. A vain, ill-mannered, and untrustworthy egotist, defending his own sordid doings with his own cheap and weather-beaten philosophy, is very likely to express himself best in a language flexible and pungent, but indelicate and without dignity. But the peculiarity of these loose and almost slangy soliloquies is that every now and then in them there occur bursts of pure poetry which are like a burst of birds singing. Browning does not hesitate to put some of the most perfect lines that he or anyone else have ever written in the English language into the mouths of such slaves as Sludge and Guido Franceschini. Take, for the sake of example, "Bishop Blougram's Apology." The poem is one of the most grotesque in the poet's works. It is intentionally redolent of the solemn materialism and patrician grossness of a grand dinner-party à deux. It has many touches of an almost wild bathos, such as the young man who bears the impossible name of Gigadibs. The Bishop, in pursuing his worldly argument for conformity, points out with truth that a condition of doubt is a condition that cuts both ways, and that if we cannot be sure of the religious theory of life, neither can we be sure of the material theory of life, and that in turn is capable of becoming an uncertainty continually shaken by a tormenting suggestion. We cannot establish ourselves on rationalism, and make it bear fruit to us. Faith itself is capable of becoming the darkest and most revolutionary of doubts. Then comes the passage:—
"Just when we are safest, there's a sunset-touch,
A fancy from a flower-bell, some one's death,
A chorus ending from Euripides,—
And that's enough for fifty hopes and fears
As old and new at once as Nature's self,
To rap and knock and enter in our soul,
Take hands and dance there, a fantastic ring,
Round the ancient idol, on his base again,—
The grand Perhaps!"
Nobler diction and a nobler meaning could not have been put into the mouth of Pompilia, or Rabbi Ben Ezra. It is in reality put into the mouth of a vulgar, fashionable priest, justifying his own cowardice over the comfortable wine and the cigars.
Along with this tendency to poetry among Browning's knaves, must be reckoned another characteristic, their uniform tendency to theism. These loose and mean characters speak of many things feverishly and vaguely; of one thing they always speak with confidence and composure, their relation to God. It may seem strange at first sight that those who have outlived the indulgence, and not only of every law, but of every reasonable anarchy, should still rely so simply upon the indulgence of divine perfection. Thus Sludge is certain that his life of lies and conjuring tricks has been conducted in a deep and subtle obedience to the message really conveyed by the conditions created by God. Thus Bishop Blougram is certain that his life of panic-stricken and tottering compromise has been really justified as the only method that could unite him with God. Thus Prince Hohenstiel-Schwangau is certain that every dodge in his thin string of political dodges has been the true means of realising what he believes to be the will of God. Every one of these meagre swindlers, while admitting a failure in all things relative, claims an awful alliance with the Absolute. To many it will at first sight appear a dangerous doctrine indeed. But, in truth, it is a most solid and noble and salutary doctrine, far less dangerous than its opposite. Every one on this earth should believe, amid whatever madness or moral failure, that his life and temperament have some object on the earth. Every one on the earth should believe that he has something to give to the world which cannot otherwise be given. Every one should, for the good of men and the saving of his own soul, believe that it is possible, even if we are the enemies of the human race, to be the friends of God. The evil wrought by this mystical pride, great as it often is, is like a straw to the evil wrought by a materialistic self-abandonment. The crimes of the devil who thinks himself of immeasurable value are as nothing to the crimes of the devil who thinks himself of no value. With Browning's knaves we have always this eternal interest, that they are real somewhere, and may at any moment begin to speak poetry. We are talking to a peevish and garrulous sneak; we are watching the play of his paltry features, his evasive eyes, and babbling lips. And suddenly the face begins to change and harden, the eyes glare like the eyes of a mask, the whole face of clay becomes a common mouthpiece, and the voice that comes forth is the voice of God, uttering His everlasting soliloquy.
INDEX
Agamemnon of Aeschylus, The, 120
Alliance, The Holy, 89.
"Andrea del Sarto," 83
Aristophanes' Apology, 120, 199.
Asolando, 132.
"At the Mermaid," 117.
"Bad Dreams," 138.
Balaustion's Adventure, 119-120.
Barrett, Edward Moulton, 58 seq., 70, 73, 74, 76, 79.
Beardsley, Mr. Aubrey, 149.
Bells and Pomegranates, 105.
Birrell, Mr. Augustine, 160.
Bishop Blougram's Apology, 188, 189, 199, 200.
Blot on the 'Scutcheon, A, 53.
Boyd, Mr., 62.
Browning, Robert: birth and family history, 3; theories as to his descent, 4-8; a typical Englishman of the middle class, 9; his immediate ancestors, 10 seq.; education, 12; boyhood and youth, 17; first poems, Incondita, 17; romantic spirit, 18; publication of Pauline, 20; friendship with literary men, 21; Paracelsus, 22; introduction to literary world, 25; his earliest admirers, 26; friendship with Carlyle, 26; Strafford, 27; Sordello, 34; Pippa Passes, 43; Dramatic Lyrics, 45; The Return of the Druses, 51; A Blot on the 'Scutcheon, 53; correspondence with Elizabeth Barrett, 62 seq.; their first meeting, 70; marriage and elopement, 78, 79; life in Italy, 81 seq.; love of Italy, 82, 85 seq.; sympathy with Italian Revolution, 90; attitude towards spiritualism, 91 seq., 113, 190-199; death of his wife, 103; returns to England, 105; The Ring and the Book, 110; culmination of his literary fame, 110, 117; life in society, 110; elected Fellow of Balliol, 117; honoured by the great Universities, 118; Balaustion's Adventure, 119-120; Aristophanes' Apology, 120; The Agamemnon of Aeschylus, 120; Prince Hohenstiel-Schwangau, 121; Red-Cotton Night-Cap Country, 122; Fifine at the Fair, 124; The Inn Album, 125; Pacchiarotto, and How He Worked in Distemper, 125; La Saisiaz, 127; The Two Poets of Croisic, 127; Dramatic Idylls, 127; Jocoseria, 127; Ferishtah's Fancies, 127; Parleyings with Certain People of Importance in their Day, 128; accepts post of Foreign Correspondent to the Royal Academy, 129; goes to Llangollen with his sister, 130; last journey to Italy, 130; death at Venice, 132; publication of Asolando, 132; his conversation, 36; vanity, 33, 36; faults and virtues, 40, 55; his interest in Art, 82 seq.; his varied accomplishments, 84-85; personality and presence, 18, 33, 112 seq.; his prejudices, 113-116; his occasional coarseness, 116; politics, 86 seq.; Browning as a father, 105; as dramatist, 52; as a literary artist, 133 seq.; his se of the grotesque, 48, 140, 143, 148 seq.; his failures, 141; artistic originality, 136, 143, 158; keen sense of melody and rhythm, 145 seq.; ingenuity in rhyming, 152; his buffoonery, 154; obscurity, 154 seq.; his conception of the Universe, 175; philosophy, 177 seq.; optimism, 179 seq.; his love poetry, 49; his knaves, 51, 201-202; the key to his casuistical monologues, 199.
Browning, Life of (Mrs. Orr), 92.
Browning, Robert (father of the poet), 10, 119.
Browning, Mrs., née Wiedermann (mother), 11, 82.
Browning, Anna (sister), 14, 105.
Browning, Elizabeth Barrett (wife), 57 seq., 91-99, 101, 103, 116, 119, 129, 131.
Browning Society, 129.
Burns, Robert, 169-170.
"Caliban upon Setebos," 93, 135, 138.
"Caponsacchi," 108.
Carlyle, Thomas, 12, 16, 17, 26, 55, 56, 87, 115.
Carlyle, Mrs., 26.
"Cavalier Tunes," 46.
Chaucer, 117.
"Childe Roland to the Dark Tower came," 159.
Christmas Eve, 105.
Church in Italy, The, 88.
"Clive," 127.
Clough, Arthur Hugh, 56.
Colombe's Birthday, 32.
Corelli, Miss Marie, 38.
Cromwell, Oliver, 73.
Dickens, 16.
Domett, Alfred, 21.
"Dominus Hyacinthus de Archangelis," 161.
Dramatic Idylls, 127.
Dramatic Lyrics, 45-50.
Dramatis Personæ, 105.
Duffy, Sir Charles Gavan, 187, 188.
Edinburgh Review, 122.
"Englishman in Italy, The," 150.
"Fears and Scruples," 126, 138.
"Ferishtah's Fancies," 138.
Fifine at the Fair, 9, 13, 51, 124, 199.
Flight of the Duchess, The, 18.
Forster, John, 26.
Fox, Mr. Johnson, 20.
Fox, Mrs. Bridell, 33.
"Fra Lippo,", 51.
French Revolution, 87.
"Garden Fancies," 46.
Gilbert, W.S., 144.
Gissing, Mr. George, 165.
Gladstone, 117.
Golden Treasury (Palgrave), 168.
Gordon, General, 90.
"Guido Franceschini," 106, 120, 200.
Henley, Mr., 148.
"Heretic's Tragedy, The," 137.
Hickey, Miss E.H., 129.
"Holy Cross Day," 153.
Home, David (spiritualist), 93-97, 113, 190, 191.
Home, David, Memoirs of, 93 seq.
Horne, 26.
Houghton, Lord, 129.
"House," 138.
"Householder, The," 138.
"How they brought the good News from Ghent to Aix," 46.
Hudibras (Butler), 57.
Hugo, Victor, 17.
Hunt, Leigh, 26.
Incondita, 17.
Inn Album, The, 125.
Instans Tyrannus, 9.
Italy, 85 seq.
Italian Revolution, 88 seq.
"Ivàn Ivànovitch," 127.
Jameson, Mrs., 75.
Jerrold, Douglas, 34.
Jocoseria, 127.
Jowett, Dr., 118.
Julius Cæsar (Shakespeare), 28.
"Juris Doctor Bottinius," 161.