First Impressions of Keats and Shelley—Prolonged Influence of Shelley—Details of Home Education—Its Effects—Youthful Restlessness—Counteracting Love of Home—Early Friendships: Alfred Domett, Joseph Arnould, the Silverthornes—Choice of Poetry as a Profession—Alternative Suggestions; mistaken Rumours concerning them—Interest in Art—Love of good Theatrical Performances—Talent for Acting—Final Preparation for Literary Life.
At the period at which we have arrived, which is that of his leaving school and completing his fourteenth year, another and a significant influence was dawning on Robert Browning's life—the influence of the poet Shelley. Mr. Sharp writes,* and I could only state the facts in similar words, 'Passing a bookstall one day, he saw, in a box of second-hand volumes, a little book advertised as "Mr. Shelley's Atheistical Poem: very scarce."' . . . 'From vague remarks in reply to his inquiries, and from one or two casual allusions, he learned that there really was a poet called Shelley; that he had written several volumes; that he was dead.' . . . 'He begged his mother to procure him Shelley's works, a request not easily complied with, for the excellent reason that not one of the local booksellers had even heard of the poet's name. Ultimately, however, Mrs. Browning learned that what she sought was procurable at the Olliers', in Vere Street, London.'
* 'Life of Browning', pp. 30, 31.
Mrs. Browning went to Messrs. Ollier, and brought back 'most of Shelley's writings, all in their first edition, with the exception of "The Cenci".' She brought also three volumes of the still less known John Keats, on being assured that one who liked Shelley's works would like these also.
Keats and Shelley must always remain connected in this epoch of Mr. Browning's poetic growth. They indeed came to him as the two nightingales which, he told some friends, sang together in the May-night which closed this eventful day: one in the laburnum in his father's garden, the other in a copper beech which stood on adjoining ground—with the difference indeed, that he must often have listened to the feathered singers before, while the two new human voices sounded from what were to him, as to so many later hearers, unknown heights and depths of the imaginative world. Their utterance was, to such a spirit as his, the last, as in a certain sense the first, word of what poetry can say; and no one who has ever heard him read the 'Ode to a Nightingale', and repeat in the same subdued tones, as if continuing his own thoughts, some line from 'Epipsychidion', can doubt that they retained a lasting and almost equal place in his poet's heart. But the two cannot be regarded as equals in their relation to his life, and it would be a great mistake to impute to either any important influence upon his genius. We may catch some fleeting echoes of Keats's melody in 'Pippa Passes'; it is almost a commonplace that some measure of Shelleyan fancy is recognizable in 'Pauline'. But the poetic individuality of Robert Browning was stronger than any circumstance through which it could be fed. It would have found nourishment in desert air. With his first accepted work he threw off what was foreign to his poetic nature, to be thenceforward his own never-to-be-subdued and never-to-be-mistaken self. If Shelley became, and long remained for him, the greatest poet of his age—of almost any age—it was not because he held him greatest in the poetic art, but because in his case, beyond all others, he believed its exercise to have been prompted by the truest spiritual inspiration.
It is difficult to trace the process by which this conviction formed itself in the boy's mind; still more to account for the strong personal tenderness which accompanied it. The facts can have been scarcely known which were to present Shelley to his imagination as a maligned and persecuted man. It is hard to judge how far such human qualities as we now read into his work, could be apparent to one who only approached him through it. But the extra-human note in Shelley's genius irresistibly suggested to the Browning of fourteen, as it still did to the Browning of forty, the presence of a lofty spirit, one dwelling in the communion of higher things. There was often a deep sadness in his utterance; the consecration of an early death was upon him. And so the worship rooted itself and grew. It was to find its lyrical expression in 'Pauline'; its rational and, from the writer's point of view, philosophic justification in the prose essay on Shelley, published eighteen years afterwards.
It may appear inconsistent with the nature of this influence that it began by appealing to him in a subversive form. The Shelley whom Browning first loved was the Shelley of 'Queen Mab', the Shelley who would have remodelled the whole system of religious belief, as of human duty and rights; and the earliest result of the new development was that he became a professing atheist, and, for two years, a practising vegetarian. He returned to his natural diet when he found his eyesight becoming weak. The atheism cured itself; we do not exactly know when or how. What we do know is, that it was with him a passing state of moral or imaginative rebellion, and not one of rational doubt. His mind was not so constituted that such doubt could fasten itself upon it; nor did he ever in after-life speak of this period of negation except as an access of boyish folly, with which his maturer self could have no concern. The return to religious belief did not shake his faith in his new prophet. It only made him willing to admit that he had misread him.
This Shelley period of Robert Browning's life—that which intervened between 'Incondita' and 'Pauline'—remained, nevertheless, one of rebellion and unrest, to which many circumstances may have contributed besides the influence of the one mind. It had been decided that he was to complete, or at all events continue, his education at home; and, knowing the elder Mr. Browning as we do, we cannot doubt that the best reasons, of kindness or expediency, led to his so deciding. It was none the less, probably, a mistake, for the time being. The conditions of home life were the more favourable for the young poet's imaginative growth; but there can rarely have been a boy whose moral and mental health had more to gain by the combined discipline and freedom of a public school. His home training was made to include everything which in those days went to the production of an accomplished gentleman, and a great deal therefore that was physically good. He learned music, singing, dancing, riding, boxing, and fencing, and excelled in the more active of these pursuits. The study of music was also serious, and carried on under two masters. Mr. John Relfe, author of a valuable work on counterpoint, was his instructor in thorough-bass; Mr. Abel, a pupil of Moscheles, in execution. He wrote music for songs which he himself sang; among them Donne's 'Go and catch a falling star'; Hood's 'I will not have the mad Clytie'; Peacock's 'The mountain sheep are sweeter'; and his settings, all of which he subsequently destroyed, were, I am told, very spirited. His education seems otherwise to have been purely literary. For two years, from the age of fourteen to that of sixteen, he studied with a French tutor, who, whether this was intended or not, imparted to him very little but a good knowledge of the French language and literature. In his eighteenth year he attended, for a term or two, a Greek class at the London University. His classical and other reading was probably continued. But we hear nothing in the programme of mathematics, or logic—of any, in short, of those subjects which train, even coerce, the thinking powers, and which were doubly requisite for a nature in which the creative imagination was predominant over all the other mental faculties, great as these other faculties were. And, even as poet, he suffered from this omission: since the involutions and overlappings of thought and phrase, which occur in his earlier and again in his latest works, must have been partly due to his never learning to follow the processes of more normally constituted minds. It would be a great error to suppose that they ever arose from the absence of a meaning clearly felt, if not always clearly thought out, by himself. He was storing his memory and enriching his mind; but precisely in so doing he was nourishing the consciousness of a very vivid and urgent personality; and, under the restrictions inseparable from the life of a home-bred youth, it was becoming a burden to him. What outlet he found in verse we do not know, because nothing survives of what he may then have written. It is possible that the fate of his early poems, and, still more, the change of ideals, retarded the definite impulse towards poetic production. It would be a relief to him to sketch out and elaborate the plan of his future work—his great mental portrait gallery of typical men and women; and he was doing so during at least the later years which preceded the birth of 'Pauline'. But even this must have been the result of some protracted travail with himself; because it was only the inward sense of very varied possibilities of existence which could have impelled him towards this kind of creation. No character he ever produced was merely a figment of the brain.
It was natural, therefore, that during this time of growth he should have been, not only more restless, but less amiable than at any other. The always impatient temper assumed a quality of aggressiveness. He behaved as a youth will who knows himself to be clever, and believes that he is not appreciated, because the crude or paradoxical forms which his cleverness assumes do not recommend it to his elders' minds. He set the judgments of those about him at defiance, and gratuitously proclaimed himself everything that he was, and some things that he was not. All this subdued itself as time advanced, and the coming man in him could throw off the wayward child. It was all so natural that it might well be forgotten. But it distressed his mother, the one being in the world whom he entirely loved; and deserves remembering in the tender sorrow with which he himself remembered it. He was always ready to say that he had been worth little in his young days; indeed, his self-depreciation covered the greater part of his life. This was, perhaps, one reason of the difficulty of inducing him to dwell upon his past. 'I am better now,' he has said more than once, when its reminiscences have been invoked.
One tender little bond maintained itself between his mother and himself so long as he lived under the paternal roof; it was his rule never to go to bed without giving her a good-night kiss. If he was out so late that he had to admit himself with a latch-key, he nevertheless went to her in her room. Nor did he submit to this as a necessary restraint; for, except on the occasions of his going abroad, it is scarcely on record that he ever willingly spent a night away from home. It may not stand for much, or it may stand to the credit of his restlessness, that, when he had been placed with some gentleman in Gower Street, for the convenience of attending the University lectures, or for the sake of preparing for them, he broke through the arrangement at the end of a week; but even an agreeable visit had no power to detain him beyond a few days.
This home-loving quality was in curious contrast to the natural bohemianism of youthful genius, and the inclination to wildness which asserted itself in his boyish days. It became the more striking as he entered upon the age at which no reasonable amount of freedom can have been denied to him. Something, perhaps, must be allowed for the pecuniary dependence which forbade his forming any expensive habits of amusement; but he also claims the credit of having been unable to accept any low-life pleasures in place of them. I do not know how the idea can have arisen that he willingly sought his experience in the society of 'gipsies and tramps'. I remember nothing in his works which even suggests such association; and it is certain that a few hours spent at a fair would at all times have exhausted his capability of enduring it. In the most audacious imaginings of his later life, in the most undisciplined acts of his early youth, were always present curious delicacies and reserves. There was always latent in him the real goodness of heart which would not allow him to trifle consciously with other lives. Work must also have been his safeguard when the habit of it had been acquired, and when imagination, once his master, had learned to serve him.
One tangible cause of his youthful restlessness has been implied in the foregoing remarks, but deserves stating in his sister's words: 'The fact was, poor boy, he had outgrown his social surroundings. They were absolutely good, but they were narrow; it could not be otherwise; he chafed under them.' He was not, however, quite without congenial society even before the turning-point in his outward existence which was reached in the publication of 'Pauline'; and one long friendly acquaintance, together with one lasting friendship, had their roots in these early Camberwell days. The families of Joseph Arnould and Alfred Domett both lived at Camberwell. These two young men were bred to the legal profession, and the former, afterwards Sir Joseph Arnould, became a judge in Bombay. But the father of Alfred Domett had been one of Nelson's captains, and the roving sailor spirit was apparent in his son; for he had scarcely been called to the Bar when he started for New Zealand on the instance of a cousin who had preceded him, but who was drowned in the course of a day's surveying before he could arrive. He became a member of the New Zealand Parliament, and ultimately, for a short time, of its Cabinet; only returning to England after an absence of thirty years. This Mr. Domett seems to have been a very modest man, besides a devoted friend of Robert Browning's, and on occasion a warm defender of his works. When he read the apostrophe to 'Alfred, dear friend,' in the 'Guardian Angel', he had reached the last line before it occurred to him that the person invoked could be he. I do not think that this poem, and that directly addressed to him under the pseudonym of 'Waring', were the only ones inspired by the affectionate remembrance which he had left in their author's mind.
Among his boy companions were also the three Silverthornes, his neighbours at Camberwell, and cousins on the maternal side. They appear to have been wild youths, and had certainly no part in his intellectual or literary life; but the group is interesting to his biographer. The three brothers were all gifted musicians; having also, probably, received this endowment from their mother's father. Mr. Browning conceived a great affection for the eldest, and on the whole most talented of the cousins; and when he had died—young, as they all did—he wrote 'May and Death' in remembrance of him. The name of 'Charles' stands there for the old, familiar 'Jim', so often uttered by him in half-pitying, and all-affectionate allusion, in his later years. Mrs. Silverthorne was the aunt who paid for the printing of 'Pauline'.
It was at about the time of his short attendance at University College that the choice of poetry as his future profession was formally made. It was a foregone conclusion in the young Robert's mind; and little less in that of his father, who took too sympathetic an interest in his son's life not to have seen in what direction his desires were tending. He must, it is true, at some time or other, have played with the thought of becoming an artist; but the thought can never have represented a wish. If he had entertained such a one, it would have met not only with no opposition on his father's part, but with a very ready assent, nor does the question ever seem to have been seriously mooted in the family councils. It would be strange, perhaps, if it had. Mr. Browning became very early familiar with the names of the great painters, and also learned something about their work; for the Dulwich Gallery was within a pleasant walk of his home, and his father constantly took him there. He retained through life a deep interest in art and artists, and became a very familiar figure in one or two London studios. Some drawings made by him from the nude, in Italy, and for which he had prepared himself by assiduous copying of casts and study of human anatomy, had, I believe, great merit. But painting was one of the subjects in which he never received instruction, though he modelled, under the direction of his friend Mr. Story; and a letter of his own will presently show that, in his youth at least, he never credited himself with exceptional artistic power. That he might have become an artist, and perhaps a great one, is difficult to doubt, in the face of his brilliant general ability and special gifts. The power to do a thing is, however, distinct from the impulse to do it, and proved so in the present case.
More importance may be given to an idea of his father's that he should qualify himself for the Bar. It would naturally coincide with the widening of the social horizon which his University College classes supplied; it was possibly suggested by the fact that the closest friends he had already made, and others whom he was perhaps now making, were barristers. But this also remained an idea. He might have been placed in the Bank of England, where the virtual offer of an appointment had been made to him through his father; but the elder Browning spontaneously rejected this, as unworthy of his son's powers. He had never, he said, liked bank work himself, and could not, therefore, impose it on him.
We have still to notice another, and a more mistaken view of the possibilities of Mr. Browning's life. It has been recently stated, doubtless on the authority of some words of his own, that the Church was a profession to which he once felt himself drawn. But an admission of this kind could only refer to that period of his childhood when natural impulse, combined with his mother's teaching and guidance, frequently caused his fancy and his feelings to assume a religious form. From the time when he was a free agent he ceased to be even a regular churchgoer, though religion became more, rather than less, an integral part of his inner life; and his alleged fondness for a variety of preachers meant really that he only listened to those who, from personal association or conspicuous merit, were interesting to him. I have mentioned Canon Melvill as one of these; the Rev. Thomas Jones was, as will be seen, another. In Venice he constantly, with his sister, joined the congregation of an Italian minister of the little Vaudois church there.*
* Mr. Browning's memory recalled a first and last effort at
preaching, inspired by one of his very earliest visits to a
place of worship. He extemporized a surplice or gown,
climbed into an arm-chair by way of pulpit, and held forth
so vehemently that his scarcely more than baby sister was
frightened and began to cry; whereupon he turned to an
imaginary presence, and said, with all the sternness which
the occasion required, 'Pew-opener, remove that child.'
It would be far less surprising if we were told, on sufficient authority, that he had been disturbed by hankerings for the stage. He was a passionate admirer of good acting, and would walk from London to Richmond and back again to see Edmund Kean when he was performing there. We know how Macready impressed him, though the finer genius of Kean became very apparent to his retrospective judgment of the two; and it was impossible to see or hear him, as even an old man, in some momentary personation of one of Shakespeare's characters, above all of Richard III., and not feel that a great actor had been lost in him.
So few professions were thought open to gentlemen in Robert Browning's eighteenth year, that his father's acquiescence in that which he had chosen might seem a matter scarcely less of necessity than of kindness. But we must seek the kindness not only in this first, almost inevitable, assent to his son's becoming a writer, but in the subsequent unfailing readiness to support him in his literary career. 'Paracelsus', 'Sordello', and the whole of 'Bells and Pomegranates' were published at his father's expense, and, incredible as it appears, brought no return to him. This was vividly present to Mr. Browning's mind in what Mrs. Kemble so justly defines as those 'remembering days' which are the natural prelude to the forgetting ones. He declared, in the course of these, to a friend, that for it alone he owed more to his father than to anyone else in the world. Words to this effect, spoken in conversation with his sister, have since, as it was right they should, found their way into print. The more justly will the world interpret any incidental admission he may ever have made, of intellectual disagreement between that father and himself.
When the die was cast, and young Browning was definitely to adopt literature as his profession, he qualified himself for it by reading and digesting the whole of Johnson's Dictionary. We cannot be surprised to hear this of one who displayed so great a mastery of words, and so deep a knowledge of the capacities of the English language.
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