8. WOMAN AS SAVIOUR. a. Pippa. We have seen that there are two classes of tempters, the impulsive and the deliberate, the Fifines and the Ottimas. Two classes among those who save men's souls correspond to these, viz. (1) those whose influence is unconscious; (2) those who deliberately aim at helping their fellows. Sweet, Of all Browning's poems, Pippa Passes is perhaps the prettiest. innocent Pippa, with her bright anticipations of a holiday, is charming in her gaiety and goodness. Her highest conception of happiness is to make others happy. "I will pass each, and see their happiness, The key-note of the poem lies in her first song "Each, only as God wills, Can work: God's puppets, best and worst, Are we; there is no last or first." And the lesson it teaches is, that an innocent nature like Pippa's cannot help doing good. Wherever Pippa Passes, singing her childish song, it is a revelation. Even while Sebald is crowning Ottima as "his queen, his spirit's arbitress, magnificent in sin," he hears Pippa singing "God's in his heaven, All's right with the world," and the veil falls from his eyes, he sees his sin and loathes it; but Pippa passes on unconscious. b. Elvire. If Pippa's influence is involuntary, Elvire's is not. She is Browning's type of an ideal wife, a large-souled woman, able to sympathize with her husband, to enter into his feeling for art, to understand the complicated reasonings by which he seeks to justify himself for taking notice of Fifine. He is not a model husband. When the separation comes, it is he, not she, that breaks the bond. But the union between two complementary souls cannot be dissolved. Elvire can wait like Any Wife, knowing "it all comes to the same in the end," and, resting in this faith, can die calmly. When he also lies in the antechamber of death, she comes to meet him. Now, if not before, he knows her value. Death may be bitter, but Elvire's love triumphs over it with the jubilant cry— "Love is all, and death is nought." 9. CONCLUDING REMARKS. At the beginning of this Paper Browning was called the poet of positive belief. We are now in a position to estimate more exactly what that belief is as regards Woman. It is at once orthodox and optimistic. He respects the institution of marriage, and also looks forward to a future of increased usefulness and knowledge for Woman. Here as elsewhere Browning is the poet of hope. To conclude with Goethe's lines: "Das Unbeschreibliche Hier wirds gethan; a vote of thanks to Mr. Martley for his very He had no doubt it would give rise to an able The CHAIRMAN proposed interesting and instructive Paper. discussion. MR. FURNIVALL hoped that the ladies present would give their opinion of the Paper. It was a bachelor's Paper, and exhibited thoughts well put and well expressed. He thought there was no point to which he could take objection, for among B.'s women, Ottima had been redeemed at last-there was even hope for her. He remarked on one especial trait of B.'s treatment of women-the way in which they give themselves up to men. Men rarely required such things; but the contrast struck him of this idea with the modern one of women leading men. The difference between Browning and Tennyson in this respect also struck him. No doubt the self-abnegation of woman to man had impressed itself on Browning, but it belonged more to the passing generation than the present-they asserted their own individuality now more than they used to do. It seemed to him that the notion of self-sacrifice was exaggerated too much on the woman's side; but many thought that B. had read the heart of woman rightly, and that seemed to be his view, though he (Mr. Furnivall) could neither accept it nor believe in it. MRS. ORR considered that Browning's women were very human, as well as very various; and that his attitude towards them was modern, in so far that he did not hold them inferior to men. He believed in self-sacrifice and selfforgetfulness for love's sake, but had illustrated it as strongly in his men as in his women. Had described some women who allowed themselves to be swallowed up, but by no means intended them to be typical. MISS FULLER thought we should take half of the ancient and half of the modern conception to give us the true idea of what woman is. Browning had put the ideal man and woman before us, as all true poets must. The CHAIRMAN said the writer of the Paper had brought out the fact of the complementary nature of the sexes, which was a fundamental idea in all Browning's poetry. Man was only half a being without woman, i. e. man unmarried was imperfect. He considered Browning to be orthodox in regard to marriage, but unorthodox in the way in which he looked at it. Marriage goes to the essence of our nature, to the very deepest part of us; therefore all flirtations, and flirts like Fifine, must of necessity be transitory. MR. FURNIVALL remarked on a special point he had noticed in Prof. Corson's Paper-the idea that what influences us most in life is coming in contact with a higher nature, and being moulded by it. He asked in reference to this, How many weak men had been influenced by strong men ? He did not remember any instances in Browning, and thought Mr. Corson had made a theory out of B. without finding it in him. MISS RIDLEY noticed the friendship in A Soul's Tragedy. MISS DREWRY said that the feminine and the masculine nature were not always to be found respectively in women and men; but she suggested that in the case of one man influencing another, one had the feminine nature, and the other the masculine, though she could not remember seeing an instance of this in Browning's poems. [A general conversation then ensued, during which Mr. JONES remarked that he was shocked to hear that duplicate copies of the Society's publications had found their way into the waste-paper basket. He hoped this was not true; but it occurred to him that there were many public institutions which would accept copies, and thereby aid in making known the Society's work. He thought that till such institutions "got converted" and subscribed themselves to the Society, it would be well for members to send them their duplicate copies if they had no other use for them, or otherwise return them to the Committee. MR. FURNIVALL said that a New Browning Society had been opened in Syracuse, America, with 58 members, after a lecture given by Professor Corson.] 64* Thirteenth Meeting, Friday, February 23, 1883. W. HOLMAN HUNT, Esq., in the Chair. THE CHAIRMAN noticed that many people imagined that Shakspere, in his youth, had followed many different professions. It was thought that he was a lawyer, physician, butcher, wool-stapler,-and some even imagined him to be the Lord High Chancellor of England. It was in this spirit they acted in assuming that Robert Browning was more especially a poet for, and of, painters and musicians. He was bound to admit that there were strong reasons for his taking the chair that night. When first asked to fill that position he thought he had no reason for doing so, and was disposed to ask his friends to find some other gentleman. But on reflection he found that in one respect he was entitled to preside at this meeting, and that was, that of all admirers of Browning, he was the first among painters who had studied him, and received inspiration from him. This he could not have said a twelvemonth since, for then lived the painter who was his predecessor in the study of the poet. He would without intentional egotism explain his own introduction to the enjoyment of Browning's poems; but he had to indulge in further retrospect. Some thirty-five years ago there was another poet who was not then nearly so well known as now-he referred to Keats. But he could boast that he was the first who had painted from Keats. When he exhibited his picture, he was astonished at the number of people who had not heard of Keats-but then at that time Lord Houghton's "Life and Letters" had not appeared, and there was no edition of the poet's works but the old ones. On the opening of the Academy, a student came to him, and for Keats' sake claimed that their acquaintance should ripen into friendship-this student was Dante Gabriel Rossetti. They had hardly ended their first conversation, when Rossetti asked him if he knew Browning. He confessed he did not. Quickly Rossetti lent him the paper-covered volume of Bells and Pomegranates, and then Paracelsus. The intimacy resulted in Rossetti working together with him in his new studio. It was as dreary a room to the eye as any room they might find on the first-floor of a house overlooking the back of a London block of houses; but to them it was peopled with heroes, and was full of enchantments of all kinds. Kings, queens, ghosts, heroes-when the magic music rolled all came at their bidding. Rossetti had a voice of the finest for recitation, and such a memory that it was unnecessary to take books down from the shelves. They discussed together the English and the Tuscan poets; but there was no poet more honoured by them than Browning. At that time Browning was not found in every house; few knew his name, but that made him the more welcome to them. Now, however, his works are found all over England. At that time, he remembered a certain barrister, Serjeant Thomas, who said that "a great fuss had been made about one Browning, but it had all ended in smoke," and that was then the general opinion. Since then, however, his reputation had grown and was still growing, and was now built on a sound and solid basis. Browning, in his artistic poems, dwells on the relations of life to natural scenes and sounds. The true artist, according to Browning, works in the faith that what he does is of great service, and is divinely influenced. The true artist is inspired, he tells us, not from the teaching of others, but from his own experience. It seemed to the Chairman that there was a profound inspiration in what might be taken as the idle word of the artist Gainsborough, who when dying said, "We're all going to Heaven, and Vandyke is of the company." It was a profound statement. It was Gainsborough's evident conviction that the artist's work was a religion, and that he had helped, as his chosen master Vandyke had done, faithfully some new traits of the perfection of the God of Heaven. Browning teaches us what he has found out in his own life's experience—and the strongest thing to be gained from his teaching is, a belief in a future life. MR. FURNIVALL said it seemed to him Mr. Nettleship's theory was that Browning's intuition depended on his faith in a future life; and yet had admitted that that belief had to some degree limited his love for science. It seemed to him that the belief in a future life had diminished of late, and that in music and art you can get enough of desire to know independent of a future life. All desire to know or love could exist entirely with the idea of gaining knowledge, and without any idea of immortality. He didn't care what came after, but did his best here; and he hoped he could feel the beauty of a picture or a musical symphony as well as the man who believed in a future life. As knowledge went on, it could exercise itself to the full without thinking of the future. He did not, however, deny that it was the foundation of Browning's teaching, but he doubted whether that belief was the cause of his sympathy with men and women. His manhood was enough to give him that. Mr. F. thought men should do their good stroke of work while they lived, never minding what came after. MR. BARNETT SMITH thought that the belief in a future life was at the root of the sublimest aspirations of the human race. A belief in a future state was requisite to all forms of genius; and it was incredible to suppose that Milton or Dante could have written their poems without a firm faith in the words they wrote. Browning had this intense belief, and it was at the root of all his teaching. MR. JOHNSON wanted to know what knowing and desire really was. If the scientist and the artist lived with a desire to know, all would be well, and they must certainly get to know. The reader of the paper had said, that in order to do any work we must believe in a future of some sort. This J. W. Johnson could not agree to. MISS DREWRY believed with Mr. Nettleship that a firm hope of some future, and a future which should give us still further opportunities, was absolutely necessary to the development of our powers. Those who did not believe, it seemed to her, had but little chance of doing their best with their opportunities here. Browning protested against mere scientists, who said, "Be satisfied, and leave your works to live instead of you." No one could be satisfied with that-we long intensely for something else. The fullest development of feeling, the greatest results of the creative power which belongs to the artist were, she thought, unattainable except by those who had a belief of some sort in a future. MRS. ORR thought artistic creation sprang from the love and desire of life, and was independent of the belief in immortality: though it was true that in Mr. Browning's case all artistic intuition was bound up with the idea of spiritual growth. The desire for immortality was one thing, the belief in it another. thought Greek art had nothing to do with the belief, and Positivism showed what unselfish work could be done without it. She The CHAIRMAN closed the meeting by remarking that the echo over all Browning's work was-"God is in his heaven, all's right with the world." That Browning was no dogmatic teacher; and that, unlike a sectarian priest, he has to avoid confining his teachings to one school. To Jew, to Christian, and to Mahommedan alike he has encouragement to offer. MR. FURNIVALL proposed, and Mr. Nettleship seconded, a vote of thanks to the chairman, who, in acknowledging it, said that what he insisted upon was that in all work there should be a soul. Whatever differences there might be in form, the great thing he felt was that the thing itself should have a soul. Everything in nature had a soul and a meaning, and he thought that all who studied art should have that in mind. He had been glad to have the opportunity of hearing his brother painter read his paper. ERRATUM. In the Album lines printed in the Abstract of the Eleventh Meeting, line 2 from bottom, for 'graceful' read 'grateful.' SCRAPS. ? 1837. "Lives of Eminent British Statesmen." Vol. II. By John Forster. Life of Sir John Eliot, p. 106. "Not alone," says the poet whose genius has just risen amongst us-(here follows a quotation from Paracelsus). The note to this is: "The author of Paracelsus, Mr. Robert Browning. There could be little danger in predicting that this writer will soon be acknowledged as a first-rate poet. He has already proved himself one." (The volume of Lardner I take this from has lost the date in rebinding. The 2nd vol. bears date 1837.) 1882. R. L. Stevenson. Virginibus Puerisque. On page 43" It is lawful to pray God that we be not led into temptation; but not lawful to skulk from those that come to us. The noblest passage in one of the noblest books of this century is where the old Pope glories in the trial, nay in the partial fall, and but imperfect triumph, of the younger hero."1 Bibliography, p. 71, no. 164. Clive's gloomy abstraction in company. 'Clive,' in Browning's Dramatic Idyls, 2nd Series, pp. 19-21. "Dr. Robertson expatiated on the character of a certain nobleman [Lord Clive.-J. W. Croker.]; that he was one of the strongest-minded men that ever lived; that he would sit in company quite sluggish, while there was nothing to call forth his intellectual vigour; but the moment that any important subject was started, for instance, how this country is to be defended against a French invasion, he would rouse himself, and show his extraordinary talents with the most powerful ability and animation.”Boswell's Johnson, ed. J. W. Croker, 1831, vol. iv, p. 195, under the year 1778.W. G. Stone. 1882. "Recollections of D. G. Rossetti." By T. Hall Caine. London: Elliot Stock. 1882. Page 222. After speaking of Tennyson, Morris, Swinburne, &c., as readers, Rossetti says: "Browning both reads and talks well-at least he did so when I knew him intimately as a young man."... Rossetti went on to say, "that he had been among Browning's earliest admirers. As a boy he had seen something signed by the then unknown name of the author of Paracelsus, and wrote to him. The result was an intimacy. He spoke with warmest admiration of Childe Roland, and referred to Elizabeth Barrett Browning in terms of regard, and, I think I may say, of reverence."-T. J. Wise. 1883. "Living English Poets, 1882." K. Paul, Trench & Co. Frontispiece by Walter Crane: the British Muse; and under her, Browning holding a volume, The Ring and the Book, Tennyson, Matthew Arnold (Thyrsus), William Morris (The Earthly Paradise), Swinburne (Atalanta), and divers hands held up for the Muse's wreaths. Extracts printed, p. 86-127: Home-thoughts from Abroad, 'There's a woman like a dew-drop' from The Blot on the Scutcheon, 'Heap cassia' from Paracelsus, Waring, Two in the Cumpagna, The Last Ride together, Instans Tyrannus, Apparent Failure, The Bishop orders his Tomb at St. Praxed's, Rabbi ben Ezra. PROCEEDINGS OF LOCAL SOCIETIES. BORDER DISTRICT. The Rev. H. J. BULKELEY, Hon. Local Secretary, has during the last month given Lectures, illustrated by readings and recitations of his poems, on "Robert Browning," at Bowness, Ambleside, and Silloth, to audiences composed chiefly of members of Local Literary and Scientific Societies. Notwithstanding the unfavourable state of the weather the audiences were fairly good, and apparently appreciative. |