LIFE OF ROBERT BROWNING by William Sharp
CONTENTS
Chapter 1.
Chapter 2.
Chapter 3.
Chapter 4.
Chapter 5.
Chapter 6.
Chapter 7.
Chapter 8.
Chapter 9.
Chapter 1.
It must, to admirers of Browning’s writings, appear singularly appropriate that so cosmopolitan a poet was born in London. It would seem as though something of that mighty complex life, so confusedly petty to the narrow vision, so grandiose and even majestic to the larger ken, had blent with his being from the first. What fitter birthplace for the poet whom a comrade has called the “Subtlest Assertor of the Soul in Song”, the poet whose writings are indeed a mirror of the age?
A man may be in all things a Londoner and yet be a provincial. The accident of birthplace does not necessarily involve parochialism of the soul. It is not the village which produces the Hampden, but the Hampden who immortalises the village. It is a favourite jest of Rusticus that his urban brother has the manner of Omniscience and the knowledge of a parish beadle. Nevertheless, though the strongest blood insurgent in the metropolitan heart is not that which is native to it, one might well be proud to have had one’s atom-pulse atune from the first with the large rhythm of the national life at its turbulent, congested, but ever ebullient centre. Certainly Browning was not the man to be ashamed of his being a Londoner, much less to deny his natal place. He was proud of it: through good sense, no doubt, but possibly also through some instinctive apprehension of the fact that the great city was indeed the fit mother of such a son. “Ashamed of having been born in the greatest city of the world!” he exclaimed on one occasion; “what an extraordinary thing to say! It suggests a wavelet in a muddy shallow grimily contorting itself because it had its birth out in the great ocean.”
On the day of the poet’s funeral in Westminster Abbey, one of the most eminent of his peers remarked to me that Browning came to us as one coming into his own. This is profoundly true. There was in good sooth a mansion prepared against his advent. Long ago, we should have surrendered as to a conqueror: now, however, we know that princes of the mind, though they must be valorous and potent as of yore, can enter upon no heritance save that which naturally awaits them, and has been made theirs by long and intricate processes.
The lustrum which saw the birth of Robert Browning, that is the third in the nineteenth century, was a remarkable one indeed. Thackeray came into the world some months earlier than the great poet, Charles Dickens within the same twelvemonth, and Tennyson three years sooner, when also Elizabeth Barrett was born, and the foremost naturalist of modern times first saw the light. It is a matter of significance that the great wave of scientific thought which ultimately bore forward on its crest so many famous men, from Brewster and Faraday to Charles Darwin, had just begun to rise with irresistible impulsion. Lepsius’s birth was in 1813, and that of the great Flemish novelist, Henri Conscience, in 1812: about the same period were the births of Freiligrath, Gutzkow, and Auerbach, respectively one of the most lyrical poets, the most potent dramatist, the most charming romancer of Germany: and, also, in France, of Theophile Gautier and Alfred de Musset. Among representatives of the other arts — with two of which Browning must ever be closely associated — Mendelssohn and Chopin were born in 1809, and Schumann, Liszt, and Wagner within the four succeeding years: within which space also came Diaz and Meissonier and the great Millet. Other high names there are upon the front of the century. Macaulay, Cardinal Newman, John Stuart Mill (one of the earliest, by the way, to recognise the genius of Browning), Alexandre Dumas, George Sand, Victor Hugo, Ampere, Quinet, Prosper Merimee, Sainte-Beuve, Strauss, Montalambert, are among the laurel-bearers who came into existence betwixt 1800 and 1812.
When Robert Browning was born in London in 1812, Sheridan had still four years to live; Jeremy Bentham was at the height of his contemporary reputation, and Godwin was writing glibly of the virtues of humanity and practising the opposite qualities, while Crabbe was looked upon as one of the foremost of living poets. Wordsworth was then forty, Sir Walter Scott forty-one, Coleridge forty-two, Walter Savage Landor and Charles Lamb each in his forty-fifth year. Byron was four-and-twenty, Shelley not yet quite of age, two radically different men, Keats and Carlyle, both youths of seventeen. Abroad, Laplace was in his maturity, with fifteen years more yet to live; Joubert with twelve; Goethe, with twenty; Lamarck, the Schlegels, Cuvier, Chateaubriand, Hegel, Niebuehr (to specify some leading names only), had many years of work before them. Schopenhauer was only four-and-twenty, while Beranger was thirty-two. The Polish poet Mickiewicz was a boy of fourteen, and Poushkin was but a twelvemonth older; Heine, a lad of twelve, was already enamoured of the great Napoleonic legend. The foremost literary critic of the century was running about the sands of Boulogne, or perhaps wandering often along the ramparts of the old town, introspective even then, with something of that rare and insatiable curiosity which we all now recognise as so distinctive of Sainte-Beuve. Again, the greatest creative literary artist of the century, in prose at any rate, was leading an apparently somewhat indolent schoolboy life at Tours, undreamful yet of enormous debts, colossal undertakings, gigantic failures, and the `Comedie Humaine’. In art, Sir Henry Raeburn, William Blake, Flaxman, Canova, Thorwaldsen, Crome, Sir Thomas Lawrence, Constable, Sir David Wilkie, and Turner were in the exercise of their happiest faculties: as were, in the usage of theirs, Beethoven, Weber, Schubert, Spohr, Donizetti, and Bellini.
It is not inadvisedly that I make this specification of great names, of men who were born coincidentally with, or were in the broader sense contemporaries of Robert Browning. There is no such thing as a fortuitous birth. Creation does not occur spontaneously, as in that drawing of David Scott’s where from the footprint of the Omnipotent spring human spirits and fiery stars. Literally indeed, as a great French writer has indicated, a man is the child of his time. It is a matter often commented upon by students of literature, that great men do not appear at the beginning, but rather at the acme of a period. They are not the flying scud of the coming wave, but the gleaming crown of that wave itself. The epoch expends itself in preparation for these great ones.
If Nature’s first law were not a law of excess, the economy of life would have meagre results. I think it is Turgeniev who speaks somewhere of her as a gigantic Titan, working in gloomy silence, with the same savage intentness upon a subtler twist of a flea’s joints as upon the Destinies of Man.
If there be a more foolish cry than that poetry is on the wane, it is that the great days had passed away even before Robert Browning and Alfred Tennyson were born. The way was prepared for Browning, as it was for Shakespeare: as it is, beyond doubt, for the next high peer of these.
There were `Roberts’ among the sons of the Browning family for at least four generations. It has been affirmed, on disputable authority, that the surname is the English equivalent for Bruning, and that the family is of Teutonic origin. Possibly: but this origin is too remote to be of any practical concern. Browning himself, it may be added, told Mr. Moncure Conway that the original name was De Bruni. It is not a matter of much importance: the poet was, personally and to a great extent in his genius, Anglo-Saxon. Though there are plausible grounds for the assumption, I can find nothing to substantiate the common assertion that, immediately, or remotely, his people were Jews.*
—
* Fairly conclusive evidence to the contrary, on the paternal side,
is afforded in the fact that, in 1757, the poet’s great-grandfather
gave one of his sons the baptismal name of Christian.
Dr. Furnivall’s latest researches prove that there is absolutely
”no ground for supposing the presence of any Jewish blood
in the poet’s veins.”
—
As to Browning’s physiognomy and personal traits, this much may be granted: if those who knew him were told he was a Jew they would
not be much surprised. In his exuberant vitality, in his sensuous love of music and the other arts, in his combined imaginativeness and shrewdness of common sense, in his superficial expansiveness and actual reticence, he would have been typical enough of the potent and artistic race for whom he has so often of late been claimed.
What, however, is most to the point is that neither to curious acquaintances nor to intimate friends, neither to Jews nor Gentiles, did he ever admit more than that he was a good Protestant, and sprung of a Puritan stock. He was tolerant of all religious forms, but with a natural bias towards Anglican Evangelicalism.
In appearance there was, perhaps, something of the Semite in Robert Browning: yet this is observable but slightly in the portraits of him during the last twenty years, and scarcely at all in those which represent him as a young man. It is most marked in the drawing by Rudolf Lehmann, representing Browning at the age of forty-seven, where he looks out upon us with a physiognomy which is, at least, as much distinctively Jewish as English. Possibly the large dark eyes (so unlike both in colour and shape what they were in later life) and curved nose and full lips, with the oval face, may have been, as it were, seen judaically by the artist. These characteristics, again, are greatly modified in Mr. Lehmann’s subsequent portrait in oils.
The poet’s paternal great-grandfather, who was owner of the Woodyates Inn, in the parish of Pentridge, in Dorsetshire, claimed to come of good west-country stock. Browning believed, but always conscientiously maintained there was no proof in support of the assumption, that he was a descendant of the Captain Micaiah Browning who, as Macaulay relates in his `History of England’, raised the siege of Derry in 1689 by springing the boom across Lough Foyle, and perished in the act. The same ancestral line is said to comprise the Captain Browning who commanded the ship `The Holy Ghost’, which conveyed Henry V. to France before he fought the Battle of Agincourt, and in recognition of whose services two waves, said to represent waves of the sea, were added to his coat of arms. It is certainly a point of some importance in the evidence, as has been indicated, that these arms were displayed by the gallant Captain Micaiah, and are borne by the present family. That the poet was a pure-bred Englishman in the strictest sense, however, as has commonly been asserted, is not the case. His mother was Scottish, through her mother and by birth, but her father was the son of a German from Hamburg, named Wiedemann, who, by the way, in connection with his relationship as maternal grandfather to the poet, it is interesting to note, was an accomplished draughtsman and musician.* Browning’s paternal grandmother, again, was a Creole. As Mrs. Orr remarks, this pedigree throws a valuable light on the vigour and variety of the poet’s genius. Possibly the main current of his ancestry is as little strictly English as German. A friend sends me the following paragraph from a Scottish paper: — “What of the Scottish Brownings? I had it long ago from one of the name that the Brownings came originally from Ayrshire, and that several families of them emigrated to the North of Ireland during the times of the Covenanters. There is, moreover, a small town or village in the North of Ireland called Browningstown. Might not the poet be related to these Scottish Brownings?”
—
* It has frequently been stated that Browning’s maternal grandfather,
Mr. Wiedemann, was a Jew. Mr. Wiedemann, the son of a Hamburg merchant,
was a small shipowner in Dundee. Had he, or his father, been Semitic,
he would not have baptised one of his daughters `Christiana’.
—
Browning’s great-grandfather, as indicated above, was a small proprietor in Dorsetshire. His son, whether perforce or from choice, removed to London when he was a youth, and speedily obtained a clerkship in the Bank of England, where he remained for fifty years, till he was pensioned off in 1821 with over 400 Pounds a year. He died in 1833. His wife, to whom he was married in or about 1780, was one Margaret Morris Tittle, a Creole, born in the West Indies. Her portrait, by Wright of Derby, used to hang in the poet’s dining-room. They resided, Mr. R. Barrett Browning tells me, in Battersea, where his grandfather was their first-born. The paternal grandfather of the poet decided that his three sons, Robert, William Shergold, and Reuben, should go into business, the two younger in London, the elder abroad. All three became efficient financial clerks, and attained to good positions and fair means.* The eldest, Robert, was a man of exceptional powers. He was a poet, both in sentiment and expression; and he understood, as well as enjoyed, the excellent in art. He was a scholar, too, in a reputable fashion: not indifferent to what he had learnt in his youth, nor heedless of the high opinion generally entertained for the greatest writers of antiquity, but with a particular care himself for Horace and Anacreon. As his son once told a friend, “The old gentleman’s brain was a storehouse of literary and philosophical antiquities. He was completely versed in mediaeval legend, and seemed to have known Paracelsus, Faustus, and even Talmudic personages, personally” — a significant detail, by the way. He was fond of metrical composition, and his ease and grace in the use of the heroic couplet were the admiration, not only of his intellectual associates, but, in later days, of his son, who was wont to affirm, certainly in all seriousness, that expressionally his father was a finer poetic artist than himself. Some one has recorded of him that he was an authority on the Letters of Junius: fortunately he had more tangible claims than this to the esteem of his fellows. It was his boast that, notwithstanding the exigencies of his vocation, he knew as much of the history of art as any professional critic. His extreme modesty is deducible from this naive remark. He was an amateur artist, moreover, as well as poet, critic, and student. I have seen several of his drawings which are praiseworthy: his studies in portraiture, particularly, are ably touched: and, as is well known, he had an active faculty of pictorial caricature. In the intervals of leisure which beset the best regulated clerk he was addicted to making drawings of the habitual visitors to the Bank of England, in which he had obtained a post on his return, in 1803, from the West Indies, and in the enjoyment of which he remained till 1853, when he retired on a small pension. His son had an independent income, but whether from a bequest, or in the form of an allowance from his then unmarried Uncle Reuben, is uncertain. In the first year of his marriage Mr. Browning resided in an old house in Southampton Street, Peckham, and there the poet was born. The house was long ago pulled down, and another built on its site. Mr. Browning afterwards removed to another domicile in the same Peckham district. Many years later, he and his family left Camberwell and resided at Hatcham, near New Cross, where his brothers and sisters (by his father’s second marriage) lived. There was a stable attached to the Hatcham house, and in it Mr. Reuben Browning kept his horse, which he let his poet-nephew ride, while he himself was at his desk in Rothschild’s bank. No doubt this horse was the `York’ alluded to by the poet in the letter quoted, as a footnote, at page 189 [Chapter 9] of this book. Some years after his wife’s death, which occurred in 1849, Mr. Browning left Hatcham and came to Paddington, but finally went to reside in Paris, and lived there, in a small street off the Champs Elysees, till his death in 1866. The Creole strain seems to have been distinctly noticeable in Mr. Browning, so much so that it is possible it had something to do with his unwillingness to remain at St. Kitts, where he was certainly on one occasion treated cavalierly enough. The poet’s complexion in youth, light and ivory-toned as it was in later life, has been described as olive, and it is said that one of his nephews, who met him in Paris in his early manhood, took him for an Italian. It has been affirmed that it was the emotional Creole strain in Browning which found expression in his passion for music.**
— * The three brothers were men of liberal education and literary tastes. Mr. W. S. Browning, who died in 1874, was an author of some repute. His `History of the Huguenots’ is a standard book on the subject. ** Mrs. Sutherland Orr, in her “Life and Letters of Robert Browning” (1891), (now available online) refutes these statements. — A. L., 1996. —
By old friends of the family I have been to
ld that Mr. Browning had a strong liking for children, with whom his really remarkable faculty of impromptu fiction made him a particular favourite. Sometimes he would supplement his tales by illustrations with pencil or brush. Miss Alice Corkran has shown me an illustrated coloured map, depictive of the main incidents and scenery of the `Pilgrim’s Progress’, which he genially made for “the children”.*
Robert Browning - Delphi Poets Series Page 383