Dearest friend, are you well and in good spirits? Think of me over the Cyprus, between the cup and the lip, though bad things are said to fall out so. We have, instead of Cyprus, Montepulciano, the famous ‘King of Wine,’ crowned king, you remember, by the grace of a poet! Your Cyprus, however, keeps supremacy over me, and will not abdicate the divine right of being associated with you. I speak of wine, but we live here the most secluded, quiet life possible — reading and writing, and talking of all things in heaven and earth, and a little besides; and sometimes even laughing as if we had twenty people to laugh with us, or rather hadn’t. We know not a creature, I am happy to say, except an Italian professor (of the university here) who called on us the other evening and praised aloud the scholars of England. ‘English Latin was best,’ he said, ‘and English Greek foremost.’ Do you clap your hands?
The new pope is more liberal than popes in general, and people write odes to him in consequence.
Robert is going to bring out a new edition of his collected poems, and you are not to read any more, if you please, till this is done. I heard of Carlyle’s saying the other day ‘that he hoped more from Robert Browning, for the people of England, than from any living English writer,’ which pleased me, of course. I am just sending off an anti-slavery poem for America, too ferocious, perhaps, for the Americans to publish: but they asked for a poem and shall have it.
If I ask for a letter, shall I have it, I wonder? Remember me and love me a little, and pray for me, dearest friend, and believe how gratefully and ever affectionately
I am your
ELIBET,
Though Robert always calls me Ba, and thinks it the prettiest name in the world! which is a proof, you will say, not only of blind love but of deaf love.
It was during the stay at Pisa, and early in the year 1847, that Mr. Browning first became acquainted with his wife’s ‘Sonnets from the Portuguese.’ Written during the course of their courtship and engagement, they were not shown even to him until some months after their marriage. The story of it was told by Mr. Browning in later life to Mr. Edmund Gosse, with leave to make it known to the world in general; and from Mr. Gosse’s publication it is here quoted in his own words.
‘Their custom was, Mr. Browning said, to write alone, and not to show each other what they had written. This was a rule which he sometimes broke through, but she never. He had the habit of working in a downstairs room, where their meals were spread, while Mrs. Browning studied in a room on the floor above. One day, early in 1847, their breakfast being over, Mrs. Browning went upstairs, while her husband stood at the window watching the street till the table should be cleared. He was presently aware of some one behind him, although the servant was gone. It was Mrs. Browning, who held him by the shoulder to prevent his turning to look at her, and at the same time pushed a packet of papers into the pocket of his coat. She told him to read that, and to tear it up if he did not like it; and then she fled again to her own room.’
The sonnets were intended for her husband’s eye alone; in the first instance, not even for his. No poems can ever have been composed with less thought of the public; perhaps for that very reason they are unmatched for simplicity and sincerity in all Mrs. Browning’s work. Her genius in them has full mastery over its material, as it has in few of her other poems. All impurities of style or rhythm are purged away by the fire of love; and they stand, not only highest among the writings of their authoress, but also in the very forefront of English love-poems. With the single exception of Rossetti, no modern English poet has written of love with such genius, such beauty, and such sincerity, as the two who gave the most beautiful example of it in their own lives.
Fortunately for all those who love true poetry, Mr. Browning judged rightly of the obligation laid upon him by the possession of these poems. ‘I dared not,’ he said, ‘reserve to myself the finest sonnets written in any language since Shakespeare’s.’ Accordingly he persuaded his wife to commit the printing of them to her friend, Miss Mitford; and in the course of the year they appeared in a slender volume, entitled ‘Sonnets, by E.B.B.,’ with the imprint ‘Reading, 1847,’ and marked ‘Not for publication.’ It was not until three years later that they were offered to the general public, in the volumes of 1850. Here first they appeared under the title of ‘Sonnets from the Portuguese’ — a title suggested by Mr. Browning (in preference to his wife’s proposal, ‘Sonnets translated from the Bosnian’) for the sake of its half-allusion to her other poem, ‘Catarina to Camoens,’ which was one of his chief favourites among her works.
To these sonnets there is, however, no allusion in the letters here published, which say little for some time of her own work.
To Miss Mitford
February 8, 1847.
But, my dearest Miss Mitford, your scheme about Leghorn is drawn out in the clouds. Now just see how impossible. Leghorn is fifteen miles off, and though there is a railroad there is no liberty for French books to wander backwards and forwards without inspection and seizure. Why, do remember that we are in Italy after all! Nevertheless, I will tell you what we have done: transplanted our subscription from the Italian library, which was wearing us away into a misanthropy, or at least despair of the wits of all Southerns, into a library which has a tolerable supply of French books, and gives us the privilege besides of having a French newspaper, the ‘Siècle,’ left with us every evening. Also, this library admits (is allowed to admit on certain conditions) some books forbidden generally by the censureship, which is of the strictest; and though Balzac appears very imperfectly, I am delighted to find him at all, and shall dun the bookseller for the ‘Instruction criminelle,’ which I hope discharges your Lucien as a ‘forçat’ — neither man nor woman — and true poet, least of all....
The ‘Siècle’ has for a feuilleton a new romance of Soulié’s, called ‘Saturnin Fichet,’ which is really not good, and tiresome to boot. Robert and I began by each of us reading it, but after a little while he left me alone, being certain that no good could come of such a work. So, of course, ever since, I have been exclaiming and exclaiming as to the wonderful improvement and increasing beauty and glory of it, just to justify myself, and to make him sorry for not having persevered! The truth is, however, that but for obstinacy I should give up too. Deplorably dull the story is, and there is a crowd of people each more indifferent than each, to you; the pith of the plot being (very characteristically) that the hero has somebody exactly like him. To the reader, it’s all one in every sense — who’s who, and what’s what. Robert is a warm admirer of Balzac and has read most of his books, but certainly — oh certainly — he does not in a general way appreciate our French people quite with our warmth; he takes too high a standard, I tell him, and won’t listen to a story for a story’s sake. I can bear to be amused, you know without a strong pull on my admiration. So we have great wars sometimes, and I put up Dumas’ flag, or Soulié’s, or Eugène Sue’s (yet he was properly possessed by the ‘Mystères de Paris’) and carry it till my arms ache. The plays and vaudevilles he knows far more of than I do, and always maintains they are the happiest growth of the French school — setting aside the masters, observe — for Balzac and George Sand hold all their honours; and, before your letter came, he had told me about the ‘Kean’ and the other dramas. Then we read together the other day the ‘Rouge et Noir,’ that powerful book of Stendhal’s (Beyle), and he thought it very striking, and observed — what I had thought from the first and again and again — that it was exactly like Balzac in the raw, in the material and undeveloped conception. What a book it is really, and so full of pain and bitterness, and the gall of iniquity! The new Dumas I shall see in time, perhaps, and it is curious that Robert had just been telling me the very story you speak of in your letter, from the ‘Causes Célèbres.’ I never read it — the more shame! Dearest friend, all this talk of French books and no talk about you — the most shame! You don’t tell me enough of yourself, and I want to hear, because (besides the usual course of reasons) Mr. Chorley spoke of you
as if you were not as cheerful as usual; do tell me. Ah! if you fancy that I do not love you as near, through being so far, you are unjust to me as you never were before. For myself, the brightness round me has had a cloud on it lately by an illness of poor Wilson’s.... She would not go to Dr. Cook till I was terrified one night, while she was undressing me, by her sinking down on the sofa in a shivering fit. Oh, so frightened I was, and Robert ran out for a physician; and I could have shivered too, with the fright. But she is convalescent now, thank God! and in the meanwhile I have acquired a heap of practical philosophy, and have learnt how it is possible (in certain conditions of the human frame) to comb out and twist up one’s own hair, and lace one’s very own stays, and cause hooks and eyes to meet behind one’s very own back, besides making toast and water for Wilson — which last miracle, it is only just to say, was considerably assisted by Robert’s counsels ‘not quite to set fire to the bread’ while one was toasting it. He was the best and kindest all that time, as even he could be, and carried the kettle when it was too heavy for me, and helped me with heart and head. Mr. Chorley could not have praised him too much, be very sure. I, who always rather appreciated him, do set down the thoughts I had as merely unjust things; he exceeds them all, indeed. Yes, Mr. Chorley has been very kind to us. I had a kind note myself from him a few days since, and do you know that we have a sort of hope of seeing him in Italy this year, with dearest Mr. Kenyon, who has the goodness to crown his goodness by a ‘dream’ of coming to see us? We leave Pisa in April (did I tell you that?) and pass through Florence towards the north of Italy — to Venice, for instance. In the way of writing, I have not done much yet — just finished my rough sketch of an anti-slavery ballad and sent it off to America, where nobody will print it, I am certain, because I could not help making it bitter. If they do print it, I shall thank them more boldly in earnest than I fancy now. Tell me of Mary Howitt’s new collection of ballads — are they good? I warmly wish that Mr. Chorley may succeed with his play; but how can Miss Cushman promise a hundred nights for an untried work?... Perhaps you may find the two last numbers of the ‘Bells and Pomegranates’ less obscure — it seems so to me. Flush has grown an absolute monarch and barks one distracted when he wants a door opened. Robert spoils him, I think. Do think of me as your ever affectionate and grateful
BA.
Have you seen ‘Agnes de Misanie,’ the new play by the author of ‘Lucretia’? A witty feuilletoniste says of it that, besides all the unities of Aristotle, it comprises, from beginning to end, unity of situation. Not bad, is it? Madame Ancelot has just succeeded with a comedy, called ‘Une Année à Paris.’ By the way, shall you go to Paris this spring?
From Mr. Browning’s family, though she had as yet had no opportunity of making acquaintance with them face to face, Mrs. Browning from the first met with an affectionate reception. The following is the first now extant of a series of letters written by her to Miss Browning, the poet’s sister. The abrupt and private nature of the marriage never seems to have caused the slightest coldness of feeling in this quarter, though it must have caused anxiety; and the tone of the early letters, in which so new and unfamiliar a relation had to be taken up, does equal honour to the writer and to the recipient.
To Miss Browning
[Pisa: about February 1847.]
I must begin by thanking dearest Sarianna again for her note, and by assuring her that the affectionate tone of it quite made me happy and grateful together — that I am grateful to all of you: do feel that I am. For the rest, when I see (afar off) Robert’s minute manuscripts, a certain distrust steals over me of anything I can possibly tell you of our way of living, lest it should be the vainest of repetitions, and by no means worth repeating, both at once. Such a quiet silent life it is — going to hear the Friar preach in the Duomo, a grand event in it, and the wind laying flat all our schemes about Volterra and Lucca! I have had to give up even the Friar for these three days past; there is nothing for me when I have driven out Robert to take his necessary walk but to sit and watch the pinewood blaze. He is grieved about the illness of his cousin, only I do hope that your next letter will confirm the happy change which stops the further anxiety, and come soon for that purpose, besides others. Your letters never can come too often, remember, even when they have not to speak of illness, and I for my part must always have a thankful interest in your cousin for the kind part he took in the happiest event of my life. You have to tell us too of your dear mother — Robert is so anxious about her always. How deeply and tenderly he loves her and all of you, never could have been more manifest than now when he is away from you and has to talk of you instead of to you. By the way (or rather out of the way) I quite took your view of the purposed ingratitude to poor Miss Haworth — it would have been worse in him than the sins of ‘Examiner’ and ‘Athenaeum.’ If authors won’t feel for one another, there’s an end of the world of writing! Oh, I think he proposed it in a moment of hardheartedness — we all put on tortoiseshell now and then, and presently come out into the sun as sensitively as ever. Besides Miss Haworth has written to us very kindly; and kindness doesn’t spring up everywhere, like the violets in your gravel walks. See how I understand Hatcham. Do try to love me a little, dearest Sarianna, and (with my grateful love always to your father and mother) let me be your affectionate sister,
ELIZABETH BARRETT BROWNING,
or rather BA.
The correspondence with Mr. Westwood, which had lapsed for a considerable time, was resumed with the following letter:
To Mr. Westwood
Collegio Ferdinando, Pisa: March 10, 1847.
If really, my dear Mr. Westwood, it was an ‘ill temper’ in you, causing the brief note, it was a most flattering ill temper, and I thank you just as I have had reason to do for the good nature which has caused you to bear with me so often and so long. You have been misled on some points. I did not go to Italy last year, or rather the year before last! I was disappointed and forced to stay in Wimpole Street after all; but the winter being so mild, so miraculously mild for England you may remember, I was spared my winter relapse and left liberty for new plans such as I never used to think were in my destiny! Such a change it is to me, such a strange happiness and freedom, and you must not in your kindness wish me back again, but rather be contented, like a friend as you are, to hear that I am very happy and very well, and still doubtful whether all the brightness can be meant for me! It is just as if the sun rose again at 7 o’clock P.M. The strangeness seems so great....
I am now very well, and so happy as not to think much of it, except for the sake of another. And do you fancy how I feel, carried; into the visions of nature from my gloomy room. Even now I walk as in a dream. We made a pilgrimage from Avignon to Vaucluse in right poetical duty, and I and my husband sate upon two stones in the midst of the fountain which in its dark prison of rocks flashes and roars and testifies to the memory of Petrarch. It was louder and fuller than usual when we were there, on account of the rains; and Flush, though by no means born to be a hero, considered my position so outrageous that he dashed through the water to me, splashing me all over, so he is baptised in Petrarch’s name. The scenery is full of grandeur, the rocks sheathe themselves into the sky, and nothing grows there except a little cypress here and there, and a straggling olive tree; and the fountain works out its soul in its stony prison, and runs away in a green rapid stream. Such a striking sight it is. I sate upon deck, too, in our passage from Marseilles to Genoa, and had a vision of mountains, six or seven deep, one behind another. As to Pisa, call it a beautiful town, you cannot do less with Arno and its palaces, and above all the wonderful Duomo and Campo Santo, and Leaning Tower and Baptistery, all of which are a stone’s throw from our windows. We have rooms in a great college-house built by Vasari, and fallen into desuetude from collegiate purposes; and here we live the quietest and most tête-à-tête of lives, knowing nobody, hearing nothing, and for nearly three months together never catching a glimpse of a paper. Oh, how wrong you were about the �
�Times’! Now, however, we subscribe to a French and Italian library, and have a French newspaper every evening, the ‘Siècle,’ and so look through a loophole at the world. Yet, not too proud are we, even now, for all the news you will please to send us in charity: ‘da obolum Belisario!’
What do you mean about poor Tennyson? I heard of him last on his return from a visit to the Swiss mountains, which ‘disappointed him,’ he was said to say. Very wrong, either of mountains or poet!
Tell me if you make acquaintance with Mrs. Hewitt’s new ballads.
Mrs. Jameson is engaged in a work on art which will be very interesting....
Flush’s love to your Flopsy. Flush has grown very overbearing in this Italy, I think because my husband spoils him (if not for the glory at Vaucluse); Robert declares that the said Flush considers him, my husband, to be created for the especial purpose of doing him service, and really it looks rather like it.
Never do I see the ‘Athenaeum’ now, but before I left England some pure gushes between the rocks reminded me of you. Tell me all you can; it will all be like rain upon dry ground. My husband bids me offer his regards to you — if you will accept them; and that you may do it ask your heart. I will assure you (aside) that his poetry is as the prose of his nature: he himself is so much better and higher than his own works.
In the middle of April the Brownings left Pisa and journeyed to Florence, arriving there on April 20. There, however, the programme was arrested, and, save for an abortive excursion to Vallombrosa, whence they were repulsed by the misogynist principles of the monks, they continued to reside in Florence for the remainder of the year. Their first abode was in the Via delle Belle Donne; but after the return from Vallombrosa, in August, they moved across the river, and took furnished rooms in the Palazzo Guidi, the building which, under the name of ‘Casa Guidi,’ is for ever associated with their memory.
Complete Works of Elizabeth Barrett Browning Page 171