The Complete Works of Robert Browning: Poems, Plays, Letters & Biographies in One Edition. Robert Browning

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СКАЧАТЬ retention after the lapse of two days and nights; and only in view of the special circumstances of the case could a short respite be granted to the family. Arrangements were therefore at once made for a private service, to be conducted by the British Chaplain in one of the great halls of the Rezzonico Palace; and by two o’clock of the following day, Sunday, a large number of visitors and residents had assembled there. The subsequent passage to the mortuary island of San Michele had been organized by the city, and was to display so much of the character of a public pageant as the hurried preparation allowed. The chief municipal officers attended the service. When this had been performed, the coffin was carried by eight firemen (pompieri), arrayed in their distinctive uniform, to the massive, highly decorated municipal barge (Barca delle Pompe funebri) which waited to receive it. It was guarded during the transit by four ‘uscieri’ in ‘gala’ dress, two sergeants of the Municipal Guard, and two of the firemen bearing torches: the remainder of these following in a smaller boat. The barge was towed by a steam launch of the Royal Italian Marine. The chief officers of the city, the family and friends in their separate gondolas, completed the procession. On arriving at San Michele, the firemen again received their burden, and bore it to the chapel in which its place had been reserved.

      When ‘Pauline’ first appeared, the Author had received, he never learned from whom, a sprig of laurel enclosed with this quotation from the poem,

      Trust in signs and omens.

      Very beautiful garlands were now piled about his bier, offerings of friendship and affection. Conspicuous among these was the ceremonial structure of metallic foliage and porcelain flowers, inscribed ‘Venezia a Roberto Browning’, which represented the Municipality of Venice. On the coffin lay one comprehensive symbol of the fulfilled prophecy: a wreath of laurel-leaves which his son had placed there.

      A final honour was decreed to the great English Poet by the city in which he had died; the affixing of a memorial tablet to the outer wall of the Rezzonico Palace. Since these pages were first written, the tablet has been placed. It bears the following inscription:

      A

       ROBERTO BROWNING

      MORTO IN QUESTO PALAZZO

       IL 12 DICEMBRE 1889

       VENEZIA

       POSE

      Below this, in the right-hand corner appear two lines selected from his works:

      Open my heart and you will see

       Graved inside of it, ‘Italy’.

      Nor were these the only expressions of Italian respect and sympathy. The municipality of Florence sent its message of condolence. Asolo, poor in all but memories, itself bore the expenses of a mural tablet for the house which Mr. Browning had occupied. It is now known that Signor Crispi would have appealed to Parliament to rescind the exclusion from the Florentine cemetery, if the motive for doing so had been less promptly removed.

      Mr. Browning’s own country had indeed opened a way for the reunion of the husband and wife. The idea had rapidly shaped itself in the public mind that, since they might not rest side by side in Italy, they should be placed together among the great of their own land; and it was understood that the Dean would sanction Mrs. Browning’s interment in the Abbey, if a formal application to this end were made to him. But Mr. Barrett Browning could not reconcile himself to the thought of disturbing his mother’s grave, so long consecrated to Florence by her warm love and by its grateful remembrance; and at the desire of both surviving members of the family the suggestion was set aside.

      Two days after his temporary funeral, privately and at night, all that remained of Robert Browning was conveyed to the railway station; and thence, by a trusted servant, to England. The family followed within twenty-four hours, having made the necessary preparations for a long absence from Venice; and, travelling with the utmost speed, arrived in London on the same day. The house in De Vere Gardens received its master once more.

      ‘Asolando’ was published on the day of Mr. Browning’s death. The report of his illness had quickened public interest in the forthcoming work, and his son had the satisfaction of telling him of its already realized success, while he could still receive a warm, if momentary, pleasure from the intelligence. The circumstances of its appearance place it beyond ordinary criticism; they place it beyond even an impartial analysis of its contents. It includes one or two poems to which we would gladly assign a much earlier date; I have been told on good authority that we may do this in regard to one of them. It is difficult to refer the ‘Epilogue’ to a coherent mood of any period of its author’s life. It is certain, however, that by far the greater part of the little volume was written in 1888-89, and I believe all that is most serious in it was the product of the later year. It possesses for many readers the inspiration of farewell words; for all of us it has their pathos.

      He was buried in Westminster Abbey, in Poets’ Corner, on the 31st of December, 1889. In this tardy act of national recognition England claimed her own. A densely packed, reverent and sympathetic crowd of his countrymen and countrywomen assisted at the consignment of the dead poet to his historic resting place. Three verses of Mrs. Browning’s poem, ‘The Sleep’, set to music by Dr. Bridge, were sung for the first time on this occasion.

      Conclusion

       Table of Contents

      A few words must still be said upon that purport and tendency of Robert Browning’s work, which has been defined by a few persons, and felt by very many as his ‘message’.

      The definition has been disputed on the ground of Art. We are told by Mr. Sharp, though in somewhat different words, that the poet, qua poet, cannot deliver a ‘message’ such as directly addresses itself to the intellectual or moral sense; since his special appeal to us lies not through the substance, but through the form, or presentment, of what he has had to say; since, therefore (by implication), in claiming for it an intellectual — as distinct from an aesthetic — character, we ignore its function as poetry.

      It is difficult to argue justly, where the question at issue turns practically on the meaning of a word. Mr. Sharp would, I think, be the first to admit this; and it appears to me that, in the present case, he so formulates his theory as to satisfy his artistic conscience, and yet leave room for the recognition of that intellectual quality so peculiar to Mr. Browning’s verse. But what one member of the aesthetic school may express with a certain reserve is proclaimed unreservedly by many more; and Mr. Sharp must forgive me, if for the moment I regard him as one of these; and if I oppose his arguments in the words of another poet and critic of poetry, whose claim to the double title is I believe undisputed — Mr. Roden Noel. I quote from an unpublished fragment of a published article on Mr. Sharp’s ‘Life of Browning’.

      ‘Browning’s message is an integral part of himself as writer; (whether as poet, since we agree that he is a poet, were surely a too curious and vain discussion;) but some of his finest things assuredly are the outcome of certain very definite personal convictions. “The question,” Mr. Sharp says, “is not one of weighty message, but of artistic presentation.” There seems to be no true contrast here. “The primary concern of the artist must be with his vehicle of expression” — no — not the primary concern. Since the critic adds — (for a poet) “this vehicle is language emotioned to the white heat of rhythmic music by impassioned thought or sensation.” Exactly — ”thought” it may be. Now part of this same “thought” in Browning is the message. And therefore it is part of his “primary concern”. “It is with presentment,” says Mr. Sharp, “that the artist has fundamentally to concern himself.” Granted: СКАЧАТЬ