LITMIR.BIZ

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were probably first found praiseworthy, not only because they were simpler, but because, being more like work already understood and approved, adventurous criticism was needed to taste their quality. The other longer poems in blank verse, graver and more dignified, yet even more vivid, and far more life-encompassing, which bore the rounded impress of the living human being, instead of the shadowy motion of the lively human fancy—these are the birth of a process of imaginative brooding upon the development of man by means of individuality throughout the slow, unceasing flow of human history. Browning evidently grew aware that whatever these poems of personality might prove to be worth to the world, these were the ones deserving of a place apart, under the early title of "Men and Women," which he thought especially suited to the more roundly modelled and distinctively colored exemplars of his peculiar faculty.

      In his next following collection, under the similar descriptive title of "Dramatis Personae," he added to this class of work, shaping in the mould of blank verse mainly used for "Men and Women" his personifications of the Medium Mr. Sludge, the embryo theologian Caliban, the ripened mystical saint of "A Death in the Desert"; while Abt Vogler, the creative musician, Rabbi ben Ezra, the intuitional philosopher, and the chastened adept in loving, James Lee's wife, although held within the embrace of their maker's dramatic conception of them, as persons of his stage, were made to pour out their speech in rhyme as Johannes Agricola in the earlier volume uttered his creed and Rudel his love-message, as if the heat of their emotion-moved personality required such an outlet. Some such general notion as this of the scope of this volume, and of the design of the poet in the construction, classification, and orderly arrangement of so much of his briefer work as is here contained seems to be borne out upon a closer examination. On the threshold of this new poetic world of personality stands the Poet of the poem significantly called "Transcendentalism," who is speaking to another poet about the too easily obvious, metaphor-bare philosophy of his opus in twelve books. That the admonishing poet is stationed there at the very door-sill of the Gallery of Men and Women is surely not accidental, even if Browning's habit of plotting his groups of poems symmetrically by opening with a prologue-poem sounding the right key, and rounding the theme with an epilogue, did not tend to prove it intentional. It is an open secret that the last poem in "Men and Women," for instance, is an epilogue of autobiographical interest, gathering up the foregoing strains of his lyre, for a few last chords, in so intimate a way that the actual fall of the fingers may be felt, the pausing smile seen, as the performer turns towards the one who inspired "One Word More." The appropriateness of "Transcendentalism" as a prologue need be no more of a secret than that of "One Word More" as an epilogue, although it is left to betray itself. Other poets writing on the poet, Emerson for example, and Tennyson, place the outright plain name of their thought at the head of their verses, without any attempt to make their titles dress their parts and keep as thoroughly true to their roles as the poems themselves. But a complete impersonation of his thought in name and style as well as matter is characteristic of Browning, and his personified poets playing their parts together in "Transcendentalism" combine to exhibit a little masque exemplifying their writer's view of the Poet as veritably as if he had named it specifically "The Poet." One poet shows the other, and brings him visibly forward; but even in such a morsel of dramatic workmanship as this, fifty-one lines all told, there is the complexity and involution of life itself, and, as ever in Browning's monologues, over the shoulder of the poet more obviously portrayed peers as livingly the face of the poet portraying him. And this one—the admonishing poet—is set there with his "sudden rose," as if to indicate with that symbol of poetic magic what kind of spell was sought to be exercised by their maker to conjure up in his house of song the figures that people its niches. Could a poem be imagined more cunningly devised to reveal a typical poetic personality, and a typical theory of poetic method, through its way of revealing another? What poet could have composed it but one who himself employed the dramatic method of causing the abstract to be realizable through the concrete image of it, instead of the contrary mode of seeking to divest the objective of its concrete form in order to lay bare its abstract essence? This opposite theory of the poetic function is precisely the Boehme mode, against which the veiled dramatic poet, who is speaking in favor of the Halberstadtian magic, admonishes his brother, while he himself in practical substantiation of his theory of poetics brings bodily in sight the boy-face above the winged harp, vivified and beautiful himself, although his poem is but a shapeless mist.

      Not directly, then, but indirectly, as the dramatic poet ever reveals himself, does the sophisticated face of the subtle poet of "Men and Women" appear as the source of power behind both of the poets of this poem, prepossessing the reader of the verity and beauty of the theory of poetic art therein exemplified. Such an interpretation of "Transcendentalism," and such a conception of it as a key to the art of the volume it opens, chimes in harmoniously with the note sounded in the next following poem, "How it Strikes a Contemporary." Here again a typical poet is personified, not, however, by means of his own poetic way of seeing, but of the prosaic way in which he is seen by a contemporary, the whole, of course, being poetically seen and presented by the over-poet. Browning himself, and in such a manifold way that the reader is enabled to conceive as vividly of the talker and his mental atmosphere and social background—the people and habitudes of the good old town of Valladolid—as of the betalked-of Corregidor himself; while by the totality of these concrete images an impression is conveyed of the dramatic mode of poetic expression which is far more convincing than any explicit theoretic statement of it could be, because so humanly animated.

      "Artemis Prologizes" seems to have been selected to close this little opening sequence of poems on the poet, because that fragment of a larger projected work could find place here almost as if it were a poet's exercise in blank verse. Its smooth and spacious rhythm, flawless and serene as the distant Greek myth of the hero and the goddess it celebrates, is in striking contrast with the rougher, but brighter and more humanly colloquial blank verse of "Bishop Blougram's Apology," for example, or the stiff carefulness of the "Epistle" of Karshish. It might alone suffice, by comparison with the metrical craftsmanship of the other poems of "Men and Women," to assure the observant reader that never was a good workman more baselessly accused of metrical carelessness than the poet who designedly varies his complicated verse-effects to suit every inner impulse belonging to his dramatic subject. A golden finish being in place in this statuesque, "Hyperion"-like monologue of Artemis, behold here it is, and none the less perfect because not merely the outcome of the desire to produce a polished piece of poetic mechanism.

      Browning, perhaps, linked his next poem, "The Strange Medical Experience of Karshish, the Arab Physician," with the calm prologizing of the Hellenic goddess, by association of the "wise pharmacies" of AEsculapius, with the inquisitive sagacity of Karshish, "the not-incurious in God's handiwork." By this ordering of the poems, the reader may now enjoy, at any rate, the contrasts between three historic phases of wisdom in bodily ills: the phase presented in the dependence of the old Greek healer upon simple physical effects, soothing "with lavers the torn brow," and laying "the stripes and jagged ends of flesh even once more"; and the phases typified, on the one side, by the ingenious Arab, sire of the modern scientist, whose patient correlation of facts and studious, sceptical scrutiny of cause and effect are caught in the bud in the diagnosis transmitted by Karshish to Abib, and, on the other side, by the Nazarene physician, whose inspired secret of summoning out of the believing soul of man the power to control his body—so baffled and fascinated Karshish, drawing his attention in Lazarus to just that connection of the known physical with the unknown psychical nature which is still mystically alluring the curiosity of investigators.

      From the childlike, over-idealizing mood of Lazarus toward the God who had succored him, inducing in him so fatalistic an indifference to human concerns, there is but a step to the rapture of absolute theology expressed in the person of Johannes Agricola. Such poems as these put before the cool gaze of the present century the very men of the elder day of religion. Their robes shine with an unearthly light, and their abstracted eyes are hypnotized by the effulgence of their own haloes. Yet the poet never fails to insinuate some naive foible in their personification, a numbness of the heart or an archaism of soul, which reveals the possessed one as but a human brother, after all, shaped by his environment, and embodying the spirit of an historic epoch out of which the current of modern life is still streaming.

      The group of art poems which follows similarly presents a dramatic synthesis of the art of the

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