By one of those ironies of fashion that might have amused the Brownings themselves, it seems likely that they are now far better known in the flesh than they have ever been in the spirit. Passionate lovers, in curls and side-whiskers, oppressed, defiant, eloping — in this guise thousands of people must know and love the Brownings who have never read a line of their poetry. They have become two of the most conspicuous figures in that bright and animated company of authors who, thanks to our modern habit of writing memoirs and printing letters and sitting to be photographed, live in the flesh, not merely as of old in the word; are known by their hats, not merely by their poems. What damage the art of photography has inflicted upon the art of literature has yet to be reckoned. How far we are going to read a poet when we can read about a poet is a problem to lay before biographers. Meanwhile, nobody can deny the power of the Brownings to excite our sympathy and rouse our interest. “Lady Geraldine’s Courtship” is glanced at perhaps by two professors in American universities once a year; but we all know how Miss Barrett lay on her sofa; how she escaped from the dark house in Wimpole Street one September morning; how she met health and happiness, freedom, and Robert Browning in the church round the corner.
But fate has not been kind to Mrs. Browning as a writer. Nobody reads her, nobody discusses her, nobody troubles to put her in her place. One has only to compare her reputation with Christina Rossetti’s to trace her decline. Christina Rossetti mounts irresistibly to the first place among English women poets. Elizabeth, so much more loudly applauded during her lifetime, falls farther and farther behind. The primers dismiss her with contumely. Her importance, they say, “has now become merely historical. Neither education nor association with her husband ever succeeded in teaching her the value of words and a sense of form.” In short, the only place in the mansion of literature that is assigned her is downstairs in the servants’ quarters, where, in company with Mrs. Hemans, Eliza Cook, Jean Ingelow, Alexander Smith, Edwin Arnold, and Robert Montgomery, she bangs the crockery about and eats vast handfuls of peas on the point of her knife.
If, therefore, we take Aurora Leigh from the shelf it is not so much in order to read it as to muse with kindly condescension over this token of bygone fashion, as we toy with the fringes of our grandmothers’ mantles and muse over the alabaster models of the Taj Mahal which once adorned their drawing-room tables. But to the Victorians, undoubtedly, the book was very dear. Thirteen editions of Aurora Leigh had been demanded by the year 1873. And, to judge from the dedication, Mrs. Browning herself was not afraid to say that she set great store by it —“the most mature of my works”, she calls it, “and the one into which my highest convictions upon Life and Art have entered”. Her letters show that she had had the book in mind for many years. She was brooding over it when she first met Browning, and her intention with regard to it forms almost the first of those confidences about their work which the lovers delighted to share.
. . . my chief INTENTION [she wrote] just now is the writing of a sort of novel-poem . . . running into the midst of our conventions, and rushing into drawing-rooms and the like, “where angels fear to tread”; and so, meeting face to face and without mask the Humanity of the age, and speaking the truth of it out plainly. That is my intention.
But for reasons which later become clear, she hoarded her intention throughout the ten astonishing years of escape and happiness; and when at last the book appeared in 1856 she might well feel that she had poured into it the best that she had to give. Perhaps the hoarding and the saturation which resulted have something to do with the surprise that awaits us. At any rate we cannot read the first twenty pages of Aurora Leigh without becoming aware that the Ancient Mariner who lingers, for unknown reasons, at the porch of one book and not of another has us by the hand, and makes us listen like a three years’ child while Mrs. Browning pours out in nine volumes of blank verse the story of Aurora Leigh. Speed and energy, forthrightness and complete self-confidence — these are the qualities that hold us enthralled. Floated off our feet by them, we learn how Aurora was the child of an Italian mother “whose rare blue eyes were shut from seeing her when she was scarcely four years old”. Her father was “an austere Englishman, Who, after a dry lifetime spent at home in college-learning, law and parish talk, Was flooded with a passion unaware”, but died too, and the child was sent back to England to be brought up by an aunt. The aunt, of the well-known family of the Leighs, stood upon the hall step of her country house dressed in black to welcome her. Her somewhat narrow forehead was braided tight with brown hair pricked with gray; she had a close, mild mouth; eyes of no colour; and cheeks like roses pressed in books, “Kept more for ruth than pleasure — if past bloom, Past fading also”. The lady had lived a quiet life, exercising her Christian gifts upon knitting stockings and stitching petticoats “because we are of one flesh, after all, and need one flannel”. At her hand Aurora suffered the education that was thought proper for women. She learnt a little French, a little algebra; the internal laws of the Burmese empire; what navigable river joins itself to Lara; what census of the year five was taken at Klagenfurt; also how to draw nereids neatly draped, to spin glass, to stuff birds, and model flowers in wax. For the aunt liked a woman to be womanly. Of an evening she did cross-stitch and, owing to some mistake in her choice of silk, once embroidered a shepherdess with pink eyes. Under this torture of women’s education, the passionate Aurora exclaimed, certain women have died; others pine; a few who have, as Aurora had, “relations with the unseen”, survive and walk demurely, and are civil to their cousins and listen to the vicar and pour out tea. Aurora herself was blessed with a little room. It was green-papered, had a green carpet and there were green curtains to the bed, as if to match the insipid greenery of the English countryside. There she retired; there she read. “I had found the secret of a garret room Piled high with cases in my father’s name, Piled high, packed large, where, creeping in and out . . . like some small nimble mouse between the ribs of a mastodon” she read and read. The mouse indeed (it is the way with Mrs. Browning’s mice) took wings and soared, for “It is rather when We gloriously forget ourselves and plunge Soul-forward, headlong, into a book’s profound, Impassioned for its beauty and salt of truth —’Tis then we get the right good from a book”. And so she read and read, until her cousin Romney called to walk with her, or the painter Vincent Carrington, “whom men judge hardly as bee-bonneted Because he holds that paint a body well you paint a soul by implication”, tapped on the window.
This hasty abstract of the first volume of Aurora Leigh does it of course no sort of justice; but having gulped down the original much as Aurora herself advises, soul-forward, headlong, we find ourselves in a state where some attempt at the ordering of our multitudinous impressions becomes imperative. The first of these impressions and the most pervasive is the sense of the writer’s presence. Through the voice of Aurora the character, the circumstances, the idiosyncrasies of Elizabeth Barrett Browning ring in our ears. Mrs. Browning could no more conceal herself than she could control herself, a sign no doubt of imperfection in an artist, but a sign also that life has impinged upon art more than life should. Again and again in the pages we have read, Aurora the fictitious seems to be throwing light upon Elizabeth the actual. The idea of the poem, we must remember, came to her in the early forties when the connexion between a woman’s art and a woman’s life was unnaturally close, so that it is impossible for the most austere of critics not sometimes to touch the flesh when his eyes should be fixed upon the page. And as everybody knows, the life of Elizabeth Barrett was of a nature to affect the most authentic and individual of gifts. Her mother had died when she was a child; she had read profusely and privately; her favourite brother was drowned; her health broke down; she had been immured by the tyranny of her father in almost conventual seclusion in a bedroom in Wimpole Street. But instead of rehearsing the well-known facts, it is better to read in her own words her own account of the effect they had upon her.
I have lived only inwardly [she wrote] or with SORROW, for a strong emotion. Before this seclusion of my illness, I was secluded still, and there are few of the youngest women in the world who have not seen more, heard more, known more, of society, than I, who am scarcely to be called young now. I grew up in the country — I had no social opportunities, had my heart in books and poetry, and my experience in reveries. And so time passed and passed — and afterwards, when my illness came . . . and no prospect (as appeared at one time) of ever passing the threshold of one room again; why then, I turned to thinking with some bitterness . . . that I had stood blind in this temple I was about to leave — that I had seen no Human nature, that my brothers and sisters of the earth were NAMES to me, that I had beheld no great mountain or river, nothing in fact. . . . And do you also know what a disadvantage this ignorance is to my art? Why, if I live on and yet do not escape from this seclusion, do you not perceive that I labour under signal disadvantages — that I am, in a manner as a BLIND POET? Certainly, there is compensation to a degree. I have had much of the inner life, and from the habit of self-consciousness and self-analysis, I make great guesses at Human nature in the main. But how willingly I would as a poet exchange some of this lumbering, ponderous, helpless knowledge of books, for some experience of life and man, for some . . .
She breaks off, with three little dots, and we may take advantage of her pause to turn once more to Aurora Leigh.
What damage had her life done her as a poet? A great one, we cannot deny. For it is clear, as we turn the pages of Aurora Leigh or of the Letters — one often echoes the other — that the mind which found its natural expression in this swift and chaotic poem about real men and women was not the mind to profit by solitude. A lyrical, a scholarly, a fastidious mind might have used seclusion and solitude to perfect its powers. Tennyson asked no better than to live with books in the heart of the country. But the mind of Elizabeth Barrett was lively and secular and satirical. She was no scholar. Books were to her not an end in themselves but a substitute for living. She raced through folios because she was forbidden to scamper on the grass. She wrestled with Aeschylus and Plato because it was out of the question that she should argue about politics with live men and women. Her favourite reading as an invalid was Balzac and George Sand and other “immortal improprieties” because “they kept the colour in my life to some degree”. Nothing is more striking when at last she broke the prison bars than the fervour with which she flung herself into the life of the moment. She loved to sit in a café and watch people passing; she loved the arguments, the politics, and the strife of the modern world. The past and its ruins, even the past of Italy and Italian ruins, interested her much less than the theories of Mr. Hume the medium, or the politics of Napoleon, Emperor of the French. Italian pictures, Greek poetry, roused in her a clumsy and conventional enthusiasm in strange contrast with the original independence of her mind when it applied itself to actual facts.
Such being her natural bent, it is not surprising that even in the depths of her sick-room her mind turned to modern life as a subject for poetry. She waited, wisely, until her escape had given her some measure of knowledge and proportion. But it cannot be doubted that the long years of seclusion had done her irreparable damage as an artist. She had lived shut off, guessing at what was outside, and inevitably magnifying what was within. The loss of Flush, the spaniel, affected her as the loss of a child might have affected another woman. The tap of ivy on the pane became the thrash of trees in a gale. Every sound was enlarged, every incident exaggerated, for the silence of the sick-room was profound and the monotony of Wimpole Street was intense. When at last she was able to “rush into drawing-rooms and the like and meet face to face without mask the Humanity of the age and speak the truth of it out plainly”, she was too weak to stand the shock. Ordinary daylight, current gossip, the usual traffic of human beings left her exhausted, ecstatic, and dazzled into a state where she saw so much and felt so much that she did not altogether know what she felt or what she saw.
Aurora Leigh, the novel-poem, is not, therefore, the masterpiece that it might have been. Rather it is a masterpiece in embryo; a work whose genius floats diffused and fluctuating in some pre-natal stage waiting the final stroke of creative power to bring it into being. Stimulating and boring, ungainly and eloquent, monstrous and exquisite, all by turns, it overwhelms and bewilders; but, nevertheless, it still commands our interest and inspires our respect. For it becomes clear as we read that, whatever Mrs. Browning’s faults, she was one of those rare writers who risk themselves adventurously and disinterestedly in an imaginative life which is independent of their private lives and demands to be considered apart from personalities. Her “intention” survives; the interest of her theory redeems much that is faulty in her practice. Abridged and simplified from Aurora’s argument in the fifth book, that theory runs something like this. The true work of poets, she said, is to present their own age, not Charlemagne’s. More passion takes place in drawing-rooms than at Roncesvalles with Roland and his knights. “To flinch from modern varnish, coat or flounce, Cry out for togas and the picturesque, Is fatal — foolish too.” For living art presents and records real life, and the only life we can truly know is our own. But what form, she asks, can a poem on modern life take? The drama is impossible, for only servile and docile plays have any chance of success. Moreover, what we (in 1846) have to say about life is not fit for “boards, actors, prompters, gaslight, and costume; our stage is now the soul itself”. What then can she do? The problem is difficult, performance is bound to fall short of endeavour; but she has at least wrung her life-blood on to every page of her book, and, for the rest “Let me think of forms less, and the external. Trust the spirit . . . Keep up the fire and leave the generous flames to shape themselves.” And so the fire blazed and the flames leapt high.
The desire to deal with modern life in poetry was not confined to Miss Barrett. Robert Browning said that he had had the same ambition all his life. Coventry Patmore’s “Angel in the House” and Clough’s “Bothie” were both attempts of the same kind and preceded Aurora Leigh by some years. It was natural enough. The novelists were dealing triumphantly with modern life in prose. Jane Eyre, Vanity Fair, David Copperfield, Richard Feverel all trod fast on each other’s heels between the years 1847 and 1860. The poets may well have felt, with Aurora Leigh, that modern life had an intensity and a meaning of its own. Why should these spoils fall solely into the laps of the prose writers? Why should the poet be forced back to the remoteness of Charlemagne and Roland, to the toga and the picturesque, when the humours and tragedies of village life, drawing-room life, club life, and street life all cried aloud for celebration? It was true that the old form in which poetry had dealt with life — the drama — was obsolete; but was there none other that could take its place? Mrs. Browning, convinced of the divinity of poetry, pondered, seized as much as she could of actual experience, and then at last threw down her challenge to the Brontës and the Thackerays in nine books of blank verse. It was in blank verse that she sang of Shoreditch and Kensington; of my aunt and the vicar; of Romney Leigh and Vincent Carrington; of Marian Erle and Lord Howe; of fashionable weddings and drab suburban streets, and bonnets and whiskers and four-wheeled cabs, and railway trains. The poets can treat of these things, she exclaimed, as well as of knights and dames, moats and drawbridges and castle courts. But can they? Let us see what happens to a poet when he poaches upon a novelist’s preserves and gives us not an epic or a lyric but the story of many lives that move and change and are inspired by the interests and passions that are ours in the middle of the reign of Queen Victoria.
In the first place there is the story; a tale has to be told; the poet must somehow convey to us the necessary information that his hero has been asked out to dinner. This is a statement that a novelist would convey as quietly and prosaically as possible; for example, “While I was kissing her glove, sadly enough, a note was brought saying that her father sent his regards and asked me to dine with them next day”. That is harmless. But the poet has to write:
While thus I grieved, and kissed her glove,
My man brought in her note to say,
Papa had bid her send his love,
And would I dine with them next day!
Which is absurd. The simple words have been made to strut and posture and take on an emphasis which makes them ridiculous. Then again, what will the poet do with dialogue? In modern life, as Mrs. Browning indicated when she said that our stage is now the soul, the tongue has superseded the sword. It is in talk that the high moments of life, the shock of character upon character, are defined. But poetry when it tries to follow the words on people’s lips is terribly impeded. Listen to Romney in a moment of high emotion talking to his old love Marian about the baby she has borne to another man:
May God so father me, as I do him,
And so forsake me, as I let him feel
He’s orphaned haply. Here I take the child
To share my cup, to slumber on my knee,
To play his loudest gambol at my foot,
To hold my finger in the public ways . . .
and so on. Romney, in short, rants and reels like any of those Elizabethan heroes whom Mrs. Browning had warned so imperiously out of her modern living-room. Blank verse has proved itself the most remorseless enemy of living speech. Talk tossed up on the surge and swing of the verse becomes high, rhetorical, impassioned; and as talk, since action is ruled out, must go on and on, the reader’s mind stiffens and glazes under the monotony of the rhythm. Following the lilt of her rhythm rather than the emotions of her characters, Mrs. Browning is swept on into generalization and declamation. Forced by the nature of her medium, she ignores the slighter, the subtler, the more hidden shades of emotion by which a novelist builds up touch by touch a character in prose. Change and development, the effect of one character upon another — all this is abandoned. The poem becomes one long soliloquy, and the only character that is known to us and the only story that is told us are the character and story of Aurora Leigh herself.
Thus, if Mrs. Browning meant by a novel-poem a book in which character is closely and subtly revealed, the relations of many hearts laid bare, and a story unfalteringly unfolded, she failed completely. But if she meant rather to give us a sense of life in general, of people who are unmistakably Victorian, wrestling with the problems of their own time, all brightened, intensified, and compacted by the fire of poetry, she succeeded. Aurora Leigh, with her passionate interest in social questions, her conflict as artist and woman, her longing for knowledge and freedom, is the true daughter of her age. Romney, too, is no less certainly a mid-Victorian gentleman of high ideals who has thought deeply about the social question, and has founded, unfortunately, a phalanstery in Shropshire. The aunt, the antimacassars, and the country house from which Aurora escapes are real enough to fetch high prices in the Tottenham Court Road at this moment. The broader aspects of what it felt like to be a Victorian are seized as surely and stamped as vividly upon us as in any novel by Trollope or Mrs. Gaskell.
And indeed if we compare the prose novel and the novel-poem the triumphs are by no means all to the credit of prose. As we rush through page after page of narrative in which a dozen scenes that the novelist would smooth out separately are pressed into one, in which pages of deliberate description are fused into a single line, we cannot help feeling that the poet has outpaced the prose writer. Her page is packed twice as full as his. Characters, too, if they are not shown in conflict but snipped off and summed up with something of the exaggeration of a caricaturist, have a heightened and symbolical significance which prose with its gradual approach cannot rival. The general aspect of things — market, sunset, church — have a brilliance and a continuity, owing to the compressions and elisions of poetry, which mock the prose writer and his slow accumulations of careful detail. For these reasons Aurora Leigh remains, with all its imperfections, a book that still lives and breathes and has its being. And when we think how still and cold the plays of Beddoes or of Sir Henry Taylor lie, in spite of all their beauty, and how seldom in our own day we disturb the repose of the classical dramas of Robert Bridges, we may suspect that Elizabeth Barrett was inspired by a flash of true genius when she rushed into the drawing-room and said that here, where we live and work, is the true place for the poet. At any rate, her courage was justified in her own case. Her bad taste, her tortured ingenuity, her floundering, scrambling, and confused impetuosity have space to spend themselves here without inflicting a deadly wound, while her ardour and abundance, her brilliant descriptive powers, her shrewd and caustic humour, infect us with her own enthusiasm. We laugh, we protest, we complain — it is absurd, it is impossible, we cannot tolerate this exaggeration a moment longer — but, nevertheless, we read to the end enthralled. What more can an author ask? But the best compliment that we can pay Aurora Leigh is that it makes us wonder why it has left no successors. Surely the street, the drawing-room, are promising subjects; modern life is worthy of the muse. But the rapid sketch that Elizabeth Barrett Browning threw off when she leapt from her couch and dashed into the drawing-room remains unfinished. The conservatism or the timidity of poets still leaves the chief spoils of modern life to the novelist. We have no novel-poem of the age of George the Fifth.
Last updated Monday, December 22, 2014 at 10:56