The manner in which Browning bore himself in this acute and necessarily dubious position is, perhaps, more thoroughly to his credit than anything else in his career. He never came out so well in all his long years of sincerity and publicity as he does in this one act of deception. Having made up his mind to that act, he is not ashamed to name it; neither, on the other hand, does he rant about it, and talk about Philistine prejudices and higher laws and brides in the sight of God, after the manner of the cockney decadent. He was breaking a social law, but he was not declaring a crusade against social laws. We all feel, whatever may be our opinions on the matter, that the great danger of this kind of social opportunism, this pitting of a private necessity against a public custom, is that men are somewhat too weak and self-deceptive to be trusted with such a power of giving dispensations to themselves. We feel that men without meaning to do so might easily begin by breaking a social by-law and end by being thoroughly anti-social. One of the best and most striking things to notice about Robert Browning is the fact that he did this thing considering it as an exception, and that he contrived to leave it really exceptional. It did not in the least degree break the rounded clearness of his loyalty to social custom. It did not in the least degree weaken the sanctity of the general rule. At a supreme crisis of his life he did an unconventional thing, and he lived and died conventional. It would be hard to say whether he appears the more thoroughly sane in having performed the act, or in not having allowed it to affect him.
Elizabeth Barrett gradually gave way under the obstinate and almost monotonous assertion of Browning that this elopement was the only possible course of action. Before she finally agreed, however, she did something, which in its curious and impulsive symbolism, belongs almost to a more primitive age. The sullen system of medical seclusion to which she had long been subjected has already been described. The most urgent and hygienic changes were opposed by many on the ground that it was not safe for her to leave her sofa and her sombre room. On the day on which it was necessary for her finally to accept or reject Browning’s proposal, she called her sister to her, and to the amazement and mystification of that lady asked for a carriage. In this she drove into Regent’s Park, alighted, walked on to the grass, and stood leaning against a tree for some moments, looking round her at the leaves and the sky. She then entered the cab again, drove home, and agreed to the elopement. This was possibly the best poem that she ever produced.
Browning arranged the eccentric adventure with a great deal of prudence and knowledge of human nature. Early one morning in September 1846 Miss Barrett walked quietly out of her father’s house, became Mrs. Robert Browning in a church in Marylebone, and returned home again as if nothing had happened. In this arrangement Browning showed some of that real insight into the human spirit which ought to make a poet the most practical of all men. The incident was, in the nature of things, almost overpoweringly exciting to his wife, in spite of the truly miraculous courage with which she supported it; and he desired, therefore, to call in the aid of the mysteriously tranquillising effect of familiar scenes and faces. One trifling incident is worth mentioning which is almost unfathomably characteristic of Browning. It has already been remarked in these pages that he was pre-eminently one of those men whose expanding opinions never alter by a hairsbreadth the actual ground-plan of their moral sense. Browning would have felt the same things right and the same things wrong, whatever views he had held. During the brief and most trying period between his actual marriage and his actual elopement, it is most significant that he would not call at the house in Wimpole Street, because he would have been obliged to ask if Miss Barrett was disengaged. He was acting a lie; he was deceiving a father; he was putting a sick woman to a terrible risk; and these things he did not disguise from himself for a moment, but he could not bring himself to say two words to a maidservant. Here there may be partly the feeling of the literary man for the sacredness of the uttered word, but there is far more of a certain rooted traditional morality which it is impossible either to describe or to justify. Browning’s respectability was an older and more primeval thing than the oldest and most primeval passions of other men. If we wish to understand him, we must always remember that in dealing with any of his actions we have not to ask whether the action contains the highest morality, but whether we should have felt inclined to do it ourselves.
At length the equivocal and exhausting interregnum was over. Mrs. Browning went for the second time almost on tiptoe out of her father’s house, accompanied only by her maid and her dog, which was only just successfully prevented from barking. Before the end of the day in all probability Barrett had discovered that his dying daughter had fled with Browning to Italy.
They never saw him again, and hardly more than a faint echo came to them of the domestic earthquake which they left behind them. They do not appear to have had many hopes, or to have made many attempts at a reconciliation. Elizabeth Barrett had discovered at last that her father was in truth not a man to be treated with; hardly, perhaps, even a man to be blamed. She knew to all intents and purposes that she had grown up in the house of a madman.
CHAPTER IV
BROWNING IN ITALY
The married pair went to Pisa in 1846, and moved soon afterwards to Florence. Of the life of the Brownings in Italy there is much perhaps to be said in the way of description and analysis, little to be said in the way of actual narrative. Each of them had passed through the one incident of existence. Just as Elizabeth Barrett’s life had before her marriage been uneventfully sombre, now it was uneventfully happy. A succession of splendid landscapes, a succession of brilliant friends, a succession of high and ardent intellectual interests, they experienced; but their life was of the kind that if it were told at all, would need to be told in a hundred volumes of gorgeous intellectual gossip. How Browning and his wife rode far into the country, eating strawberries and drinking milk out of the basins of the peasants; how they fell in with the strangest and most picturesque figures of Italian society; how they climbed mountains and read books and modelled in clay and played on musical instruments; how Browning was made a kind of arbiter between two improvising Italian bards; how he had to escape from a festivity when the sound of Garibaldi’s hymn brought the knocking of the Austrian police; these are the things of which his life is full, trifling and picturesque things, a series of interludes, a beautiful and happy story, beginning and ending nowhere. The only incidents, perhaps, were the birth of their son and the death of Browning’s mother in 1849.
It is well known that Browning loved Italy; that it was his adopted country; that he said in one of the finest of his lyrics that the name of it would be found written on his heart. But the particular character of this love of Browning for Italy needs to be understood. There are thousands of educated Europeans who love Italy, who live in it, who visit it annually, who come across a continent to see it, who hunt out its darkest picture and its most mouldering carving; but they are all united in this, that they regard Italy as a dead place. It is a branch of their universal museum, a department of dry bones. There are rich and cultivated persons, particularly Americans, who seem to think that they keep Italy, as they might keep an aviary or a hothouse, into which they might walk whenever they wanted a whiff of beauty. Browning did not feel at all in this manner; he was intrinsically incapable of offering such an insult to the soul of a nation. If he could not have loved Italy as a nation, he would not have consented to love it as an old curiosity shop. In everything on earth, from the Middle Ages to the amoeba, who is discussed at such length in “Mr. Sludge the Medium,” he is interested in the life in things. He was interested in the life in Italian art and in the life in Italian politics.
Perhaps the first and simplest example that can be given of this matter is in Browning’s interest in art. He was immeasurably fascinated at all times by painting and sculpture, and his sojourn in Italy gave him, of course, innumerable and perfect opportunities for the study of painting and sculpture. But his interest in these studies was not like that of the ordinary cultured visitor to the Italian cities. Thousands of such visitors, for example, study those endless lines of magnificent Pagan busts