ABSTRACT
In the poem of Pippa passes, we have another offensive instance of the same apparent predilection, against which we must beg to enter our most energetic protest. Another mischievous tendency of this poet’s, in our opinion, is towards the exaltation of suicide, as a high and noble act. From time immemorial, poets have availed themselves of this method of disposing of troublesome characters, but we have not the less objection to it on this account. It has indeed been made a question, even among Christian casuists, whether in some instances death might
a Christian point of view, they are certainly indefensible. Nevertheless, we should not be too severe on a blot which Mr. Browning shares in common with so many other writers: we would exhort him indeed to avoid this error for the future; but with this, we rest content. Finally, one other moral objection to certain of Mr. Browning’s creations may be advanced with too much truth: though the general spirit of purity breathing from his works be deserving of all praise, he is not sufficiently studious of certain external decencies; he has treated themes, with a moral purpose we admit, and perhaps even with a moral effect,—which had better been left untouched. This remark holds good more particularly of parts of Pippa passes, of the general design of The Blot on the Scutcheon,—otherwise a truly exquisite work, treated with wonderful pathos, grace, and delicacy,—and of two or three of the short dramatic lyrics,—we will name only ‘The Confessional’. We have now said the worst that can be said on the score of morality; and the moral and even religious beauties which counterbalance these errors are so great, as to call for the genial appreciation of all true lovers of poetry or of truth.… On the whole, these Lyrics and Romances are well worthy of their author; and that is saying much. They are unlike any thing else we are acquainted with; for Southey’s monodramas, very fine in their way, have another cast; and Tennyson’s dramatic lyrics, such as ‘Ulysses’, are more reflective and contemplative, though very noble also. That passion, that intensity, that power, which is the marked characteristic of Mr. Browning, is conspicuous throughout them. They are not altogether free from morbid tendencies and exaggerations,— witness ‘The Confessional,’ and ‘The Tomb at St. Praxed’s’, though both of these have merit: they are sometimes painful; but they are always forcible, and in some instances graceful and pleasant also.—We have noticed the series very cursorily, and Mr. Browning is not a Poet who can be done justice to in a few words. He must be illustrated and elucidated with care. No author more requires interpreters to stand betwixt him and the public: and where, in the present dearth of taste or common sense in the critical world, when the English of a Carlyle is thought sublime, and the artificial and conventional are in almost all cases preferred to the truthful, are we to look for such interpreters? Mr. Browning must bide his time, secure of his own greatness, and of the world’s a waking sooner or later to a just appreciation of it. Even now a change is manifest; a new and complete edition of his works is called for, and proof is thereby afforded that the public is beginning to open its eyes.…
