any unusual work, that the author has made extensive studies for it,—as if ideas and imagination drew their inspiration from the outer world, and were solely to be appraised, as to their results, by the capacity for cramming. So much cramming, so much genius! He who thus mistakes inspiration for industry certainly proves how very remote is his mind from the former. With this marvelous work by a young man of twenty-three the usual literary legends were set afloat, like thistledown in the air, which seem to have floated and alighted everywhere, and which now, more than seventy-five years later, are apparently still floating and alighting on the pens of various writers, to the effect that “Paracelsus” is the result of “vast research among contemporary records,” till the poem added another to the Seven Labors of Hercules. As a matter of fact, and as has already been noted, Browning had merely browsed about his father’s library.
Dr. Berdoe points out that the real “Paracelsus” cannot be understood without considerable excursions into the occult sciences, and he is quite right as to the illumination these provide, in proportionate degree as they are acquired by the reader; as a matter of course they enlarge his horizon, and offer him clues to unsuspected labyrinths; and so fine and complete is Dr. Berdoe’s own commentary on “Paracelsus” that it might not unduly be held as supplementary to the reader’s entire enjoyment of the poem. Dr. Berdoe notes that the Bishop of Spanheim, who was the instructor of Paracelsus, defined “divine magic,” as another name for alchemy, “and lays down the great doctrine of all medieval occultism, as of all modern theosophy,—of a soul-power equally operative in the material and the immaterial, in nature and in the consciousness of man.” The sympathetic reader of Browning’s “Paracelsus” will realize, however, that the drama he presents is spiritual, rather than occult. It is not the search for the possible mysteries, or achievements of the crucible. It is the adventure of the soul, not the penetration into the secrets of unknown elementals.
In the autumn of 1835 the Browning family removed from Camberwell to Hatcham. They bestowed themselves in a spacious, delightful old house, with “long, low rooms,” wherein the household gods, inclusive of the six thousand books of the elder Browning’s treasured library, found abundant accommodation; and the outlook on the Surrey hills gratified them all. During these years we catch a few glimpses of the poet’s only sister, Sarianna, who was two years younger than her brother, and quite as fond of listening to the conversation of an uncle, William Shergold Browning, who had removed to Paris. Here he was connected with the Rothschild banking house, and had achieved some distinction as the author of a “History of the Huguenots.” He also wrote two historical novels, entitled “Hoel Mar en Morven” and “Provost of Paris,” and compiled one of those harmless volumes entitled “Leisure Hours.” It was this uncle who had brought about the introduction of his nephew and Marquis Amédée de Ripert-Monclar, whose uncle, the Marquis de Fortia, a member of the Institut, was a special friend of William Shergold Browning. In later years a grandson of the Paris Browning, after graduating at Lincoln College, became Crown prosecutor in New South Wales. He is known as Robert Jardine Browning, and he was on terms of intimacy with his cousins, Robert and Sarianna, whom he often visited.
ELIZABETH BARRETT BROWNING
From a drawing made by Field Talfourd, in Rome, 1855
The family friendship with Carlyle was a source of great pleasure to Mrs. Browning, the poet’s mother, and there is on record a night when Carlyle and his brother dined with the Brownings at Hatcham. Another family friend and habitué was the Rev. Archer Gurney, who at a later time became Chaplain to the British Embassy in Paris. Mr. Gurney was a writer of poems and plays, lyrics and dramatic verse, and a volume of his work entitled “Fra Cipollo and Other Poems” was published, from which Browning drew his motto for “Colombe’s Birthday.” Mr. Gurney was deeply interested in young Browning’s poetry, and there is a nebulous trace of his having something to do with the publication of “Bells and Pomegranates.” Another friend of the poet was Christopher Dowson, who married the sister of Alfred Domett; at their homes, Albion Terrace, and their summer cottage in Epping Forest, Browning was a frequent visitor. Dowson died early; but Field Talfourd (a brother of the author of “Ion” and the artist who made those crayon portraits of Browning and his wife, in the winter of 1859, in Rome), Joseph Arnould, and Alfred Domett, with one or two other young men, comprised the poet’s more intimate circle at this time. Arnould and Domett were both studying for the Bar; Arnould had gained the Newdigate in 1834, and had won great applause by his recital (in the Sheldonian Theater) of his “Hospice of St. Bernard.” Later he was offered the editorship of the Daily News, founded by Forster and Dickens, but he kept true to his legal studies and in time became the Judge of the High Court at Bombay, and was knighted by the Crown.
There was a dinner given by Macready at which Browning, Carlyle, and Miss Martineau were guests, and later a dinner at the Carlyles’ where Browning met a son of Burns “who sang some of his father’s songs.” To a friend Browning wrote: “I dined with dear Carlyle and his wife (catch me calling people ‘dear’ in a hurry) yesterday. I don’t know any people like them.”
Browning passed a day with Miss Martineau at Ascot, and again visited her in Elstree, where she was staying with the Macreadys. She greatly admired “Paracelsus,” and spoke of her first acquaintance with his poetry as a “wonderful event.” He dined with her at her home in Westminster, and there met John Robertson, the assistant editor of the Westminster Review, to which Miss Martineau was a valued contributor. Henry Chorley, a musical critic of the day, was another guest that night, and soon after Browning dined with him “in his bachellor abode,” the other guests being Arnould, Domett, and Bryan Proctor; later, at a musicale given by Chorley, Browning met Charlotte Cushman and Adelaide Kemble. Chorley drew around him the best musicians of the time: Mendelssohn, Moscheles, Liszt, David, and other great composers were often rendered in his chambers. Proctor was then living in Harley Street, and his house was a center for the literary folk of the day.
George Eliot speaks of the indifference with which we gaze at our unintroduced neighbor, “while Destiny stands by, sarcastic, with our dramatis personæ folded in her hands.” It was such an hour of destiny as this when, at a dinner given by Sergeant Talfourd, at his home (No. 56) in Russell Square, Browning first met John Kenyon. Our great events mostly come to us like gods in disguise, and this evening was no exception. Unknown and undreamed of, the young poet had come to one of those partings of the ways which are only recognized in the perspective of time. Browning’s life had been curiously free from any romance beyond that with the muses. The one woman with whom he had seemed most intimate, Miss Fanny Haworth, was eleven years his senior, and their intercourse, both conversationally and in letters, had been as impersonal as literature itself. She was a writer of stories and verse, and had celebrated her young friend in two sonnets. This friendship was one of literary attractions alone, and the poet had apparently devoted all his romance to poetry rather than demanded it in life. But now, golden doors were to open.
At this dinner at Mr. Talfourd’s, John Kenyon came over to the poet, after they had left the dining-room, and inquired if he were not the son of his old school-fellow, Robert Browning. Finding this surmise to be true, he became greatly attached to him. Mr. Kenyon had lost his wife some time previously; he had no children, and he was a prominent and favorite figure in London society. Southey said of Kenyon that he was “one of the best and pleasantest of men, whom every one likes better the longer he is known,” and Kenyon, declaring that Browning “deserved to be a poet, being one in heart and life,” offered to him his “best and most precious gift,”—that of an introduction to his second cousin, Elizabeth Barrett.
This was the first intimation of Destiny, but the meeting was still to remain in the future. “Sordello” was published in 1840,—“a colossal derelict on the ocean of poetry,” as William Sharp terms it. The impenetrable nature of the intricacies of the work has been the theme of many anecdotes. Tennyson declared that there were only two lines in it—the opening and the closing ones—which he understood, and “they are both lies,” he feelingly added. Douglas Jerrold tackled it when he was just recovering from an illness, and despairingly set down his inability to comprehend it to the probability that