Part 24

"Then, what golden hours were for us!-- While we sate together there;

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"Oh, our Aeschylus, the thunderous! How he drove the bolted breath Through the cloud to wedge it ponderous In the gnarlèd oak beneath. Oh, our Sophocles, the royal, Who was born to monarch's place, And who made the whole world loyal, Less by kingly power than grace.

"Our Euripides, the human, With his droppings of warm tears, And his touches of things common Till they rose to touch the spheres! Our Theocritus, our Bion, And our Pindar's shining goals!-- These were cup-bearers undying, Of the wine that's meant for souls."

More fond of books than of social life, she was laying the necessary foundation for a noble fame. The lives of Elizabeth Barrett Browning, George Eliot, and Margaret Fuller, emphasize the necessity of almost unlimited knowledge, if woman would reach lasting fame. A great man or woman of letters, without great scholarship, is well-nigh an impossible thing.

Nine years after her first book, Prometheus Bound and Miscellaneous Poems was published in 1835. She was now twenty-six. A translation from the Greek of Aeschylus by a woman caused much comment, but like the first book it received severe criticism. Several years afterward, when she brought her collected poems before the world, she wrote: "One early failure, a translation of the Prometheus of Aeschylus, which, though happily free of the current of publication, may be remembered against me by a few of my personal friends, I have replaced here by an entirely new version, made for them and my conscience, in expiation of a sin of my youth, with the sincerest application of my mature mind." "This latter version," says Mr. Stedman, "of a most sublime tragedy is more poetical than any other of equal correctness, and has the fire and vigor of a master-hand. No one has succeeded better than its author in capturing with rhymed measures the wilful rushing melody of the tragic chorus."

In 1835 Miss Barrett made the acquaintance of Mary Russell Mitford, and a life-long friendship resulted. Miss Mitford says: "She was certainly one of the most interesting persons I had ever seen. Everybody who then saw her said the same. Of a slight, delicate figure, with a shower of dark curls falling on either side of a most expressive face, large tender eyes, richly fringed by dark eyelashes, a smile like a sunbeam, and such a look of youthfulness, that I had some difficulty in persuading a friend, in whose carriage we went together to Cheswick, that the translatress of the Prometheus of Aeschylus, the authoress of the Essay on Mind, was old enough to be introduced into company, in technical language, was out. We met so constantly and so familiarly that, in spite of the difference of age, intimacy ripened into friendship, and after my return into the country, we corresponded freely and frequently, her letters being just what letters ought to be,--her own talk put upon paper."

The next year Miss Barrett, never robust, broke a blood-vessel in the lungs. For a year she was ill, and then with her eldest and favorite brother, was carried to Torquay to try the effect of a warmer climate. After a year spent here, she greatly improved, and seemed likely to recover her usual health.

One beautiful summer morning she went on the balcony to watch her brother and two other young men who had gone out for a sail. Having had much experience, and understanding the coast, they allowed the boatman to return to land. Only a few minutes out, and in plain sight, as they were crossing the bar, the boat went down, and the three friends perished. Their bodies even were never recovered.

The whole town was in mourning. Posters were put upon every cliff and public place, offering large rewards "for linen cast ashore marked with the initials of the beloved dead; for it so chanced that all the three were of the dearest and the best: one, an only son; the other, the son of a widow"; but the sea was forever silent.

The sister, who had seen her brother sink before her eyes, was utterly prostrated. She blamed herself for his death, because he came to Torquay for her comfort. All winter long she heard the sound of waves ringing in her ears like the moans of the dying. From this time forward she never mentioned her brother's name, and later, exacted from Mr. Browning a promise that the subject should never be broached between them.

The following year she was removed to London in an invalid carriage, journeying twenty miles a day. And then for seven years, in a large darkened room, lying much of the time upon her couch, and seeing only a few most intimate friends, the frail woman lived and wrote. Books more than ever became her solace and joy. Miss Mitford says, "She read almost every book worth reading, in almost every language, and gave herself heart and soul to that poetry of which she seem born to be the priestess." When Dr. Barry urged that she read light books, she had a small edition of Plato bound so as to resemble a novel, and the good man was satisfied. She understood her own needs better than he.

When she was twenty-nine, she published The Seraphim and Other Poems. The Seraphim was a reverential description of two angels watching the Crucifixion. Though the critics saw much that was strikingly original, they condemned the frequent obscurity of meaning and irregularity of rhyme. The next year, The Romaunt of the Page and other ballads appeared, and in 1844, when she was thirty-five, a complete edition of her poems, opening with the Drama of Exile. This was the expulsion of Adam and Eve from Eden, the first scene representing "the outer side of the gate of Eden shut fast with cloud, from the depth of which revolves a sword of fire self-moved. Adam and Eve are seen in the distance flying along the glare."

In one of her prefaces she said: "Poetry has been to me as serious a thing as life itself,--and life has been a very serious thing; there has been no playing at skittles for me in either. I never mistook pleasure for the final cause of poetry, nor leisure for the hour of the poet. I have done my work, so far, as work,--not as mere hand and head work, apart from the personal being, but as the completest expression of that being to which I could attain,--and as work I offer it to the public, feeling its shortcomings more deeply than any of my readers, because measured from the height of my aspiration; but feeling also that the reverence and sincerity with which the work was done should give it some protection from the reverent and sincere."

While the Drama of Exile received some adverse criticism, the shorter poems became the delight of thousands. Who has not held his breath in reading the Rhyme of the Duchess May?--

"And her head was on his breast, where she smiled as one at rest,-- Toll slowly. 'Ring,' she cried, 'O vesper-bell, in the beech-wood's old chapelle!' But the passing-bell rings best!

"They have caught out at the rein, which Sir Guy threw loose--in vain,-- Toll slowly. For the horse in stark despair, with his front hoofs poised in air, On the last verge rears amain.

"Now he hangs, he rocks between, and his nostrils curdle in!-- Toll slowly. Now he shivers head and hoof, and the flakes of foam fall off, And his face grows fierce and thin!

"And a look of human woe from his staring eyes did go, Toll slowly. And a sharp cry uttered he, in a foretold agony of the headlong death below."

Who can ever forget that immortal Cry of the Children, which awoke all England to the horrors of child-labor? That, and Hood's Song of the Shirt, will never die.

Who has not read and loved one of the most tender poems in any language, Bertha in the Lane?--

"Yes, and He too! let him stand In thy thoughts, untouched by blame. Could he help it, if my hand He had claimed with hasty claim? That was wrong perhaps--but then Such things be--and will, again. Women cannot judge for men.

* * * * *

"And, dear Bertha, let me keep On this hand this little ring, Which at night, when others sleep, I can still see glittering. Let me wear it out of sight, In the grave,--where it will light All the Dark up, day and night."

No woman has ever understood better the fulness of love, or described it more purely and exquisitely.

One person among the many who had read Miss Barrett's poems, felt their genius, because he had genius in his own soul, and that person was Robert Browning. That she admired his poetic work was shown in Lady Geraldine's Courtship, when Bertram reads to his lady-love:--

"Or at times a modern volume,--Wordsworth's solemn-thoughted idyl, Howitt's ballad verse, or Tennyson's enchanted reverie, Or from Browning some Pomegranate, which, if cut deep down the middle, Shows a heart within blood-tinctured, of a veined humanity."

Mr. Browning determined to meet the unknown singer. Years later he told the story to Elizabeth C. Kinney, when she had gone with the happy husband and wife on a day's excursion from Florence. She says: "Finding that the invalid did not receive strangers, he wrote her a letter, intense with his desire to see her. She reluctantly consented to an interview. He flew to her apartment, was admitted by the nurse, in whose presence only could he see the deity at whose shrine he had long worshipped. But the golden opportunity was not to be lost; love became oblivious to any save the presence of the real of its ideal. Then and there Robert Browning poured his impassioned soul into hers; though his tale of love seemed only an enthusiast's dream. Infirmity had hitherto so hedged her about, that she deemed herself forever protected from all assaults of love. Indeed, she felt only injured that a fellow-poet should take advantage, as it were, of her indulgence in granting him an interview, and requested him to withdraw from her presence, not attempting any response to his proposal, which she could not believe in earnest. Of course, he withdrew from her sight, but not to withdraw the offer of his heart and hand; on the contrary, to repeat it by letter, and in such wise as to convince her how 'dead in earnest' he was. Her own heart, touched already when she knew it not, was this time fain to listen, be convinced, and overcome.