Bells and Pomegranates

Robert Browning to Elizabeth Barrett Barrett

Saturday.[Post-mark, October 18, 1845.]

I must not go on tearing these poor sheets one after the other,—the proper phrases will not come,—so let them stay, while you care for my best interests in their best, only way, and say for me what I would say if I could—dearest,—say it, as I feel it!

I am thankful to hear of the continued improvement of your brother. So may it continue with him! Pulses I know very little about—I go by your own impressions which are evidently favourable.

I will make a note as you suggest*—or, perhaps, keep it for the closing number (the next), when it will come fitly in with two or three parting words I shall have to say. The Rabbis make Bells and Pomegranates symbolical of Pleasure and Profit, the gay and the grave, the Poetry and the Prose, Singing and Sermonizing—such a mixture of effects as in the original hour (that is quarter of an hour) of confidence and creation. I meant the whole should prove at last. Well, it has succeeded beyond my most adventurous wishes in one respect—'Blessed eyes mine eyes have been, if—' if there was any sweetness in the tongue or flavour in the seeds to her. But I shall do quite other and better things, or shame on me! The proof has not yet come.... I should go, I suppose, and enquire this afternoon—and probably I will.

I weigh all the words in your permission to come on Monday ... do not think I have not seen that contingency from the first! Let it be Tuesday—no sooner! Meanwhile you are never away—never from your place here.

God bless my dearest.
Ever yours
R.B.

*In a prior letter to Robert Browning, Elizabeth inquired as to the meaning of the title of his volumes of poetry, Bells and Pomegranates, and suggested he place a note for future readers.

-from The Letters of Elizabeth Barrett Barrett and Robert Browning 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

Enduring Comfort

Robert Browning to Elizabeth Barrett Barrett

Sunday.[Post-mark, October 13, 1845].

These are bad news, dearest—all bad, except the enduring comfort of your regard; the illness of your brother is worst ... that would stay you, and is the first proper obstacle. I shall not attempt to speak and prove my feelings,—you know what even Flush is to me through you: I wait in anxiety for the next account.

If after all you do not go to Pisa; why, we must be cheerful and wise, and take courage and hope. I cannot but see with your eyes and from your place, you know,—and will let this all be one surprizing and deplorable mistake of mere love and care ... but no such another mistake ought to be suffered, if you escape the effects of this. I will not cease to believe in a better event, till the very last, however, and it is a deep satisfaction that all has been made plain and straight up to this strange and sad interposition like a bar. You have done your part, at least—with all that forethought and counsel from friends and adequate judges of the case—so, if the bar will not move, you will consider—will you not, dearest?—where one may best encamp in the unforbidden country, and wait the spring and fine weather. Would it be advisable to go where Mr. Kenyon suggested, or elsewhere? Oh, these vain wishes ... the will here, and no means!

My life is bound up with yours—my own, first and last love. What wonder if I feared to tire you—I who, knowing you as I do, admiring what is so admirable (let me speak), loving what must needs be loved, fain to learn what you only can teach; proud of so much, happy in so much of you; I, who, for all this, neither come to admire, nor feel proud, nor be taught,—but only, only to live with you and be by you—that is love—for I know the rest, as I say. I know those qualities are in you ... but at them I could get in so many ways.... I have your books, here are my letters you give me; you would answer my questions were I in Pisa—well, and it all would amount to nothing, infinitely much as I know it is; to nothing if I could not sit by you and see you.... I can stop at that, but not before. And it seems strange to me how little ... less than little I have laid open of my feelings, the nature of them to you—I smile to think how if all this while I had been acting with the profoundest policy in intention, so as to pledge myself to nothing I could not afterwards perform with the most perfect ease and security, I should have done not much unlike what I have done—to be sure, one word includes many or all ... but I have not said ... what I will not even now say ... you will know—in God's time to which I trust.

I will answer your note now—the questions. I did go—(it may amuse you to write on)—to Moxon's. First let me tell you that when I called there the Saturday before, his brother (in his absence) informed me, replying to the question when it came naturally in turn with a round of like enquiries, that your poems continued to sell 'singularly well'—they would 'end in bringing a clear profit,' he said. I thought to catch him, and asked if they had done so ... 'Oh; not at the beginning ... it takes more time—he answered. On Thursday I saw Moxon—he spoke rather encouragingly of my own prospects. I send him a sheetful to-morrow, I believe, and we are 'out' on the 1st of next month. Tennyson, by the way, has got his pension, £200 per annum—by the other way, Moxon has bought the MSS. of Keats in the possession of Taylor the publisher, and is going to bring out a complete edition; which is pleasant to hear.

After settling with Moxon I went to Mrs. Carlyle's—who told me characteristic quaintnesses of Carlyle's father and mother over the tea she gave me. And all yesterday, you are to know, I was in a permanent mortal fright—for my uncle came in the morning to intreat me to go to Paris in the evening about some urgent business of his,—a five-minutes matter with his brother there,—and the affair being really urgent and material to his and the brother's interest, and no substitute being to be thought of, I was forced to promise to go—in case a letter, which would arrive in Town at noon, should not prove satisfactory. So I calculated times, and found I could be at Paris to-morrow, and back again, certainly by Wednesday—and so not lose you on that day—oh, the fear I had!—but I was sure then and now, that the 17th would not see you depart. But night came, and the last Dover train left, and I drew breath freely—this morning I find the letter was all right—so may it be with all worse apprehensions! What you fear, precisely that, never happens, as Napoleon observed and thereon grew bold. I had stipulated for an hour's notice, if go I must—and that was to be wholly spent in writing to you—for in quiet consternation my mother cared for my carpet bag.

And so, I shall hear from you to-morrow ... that is, you will write then, telling me all about your brother. As for what you say, with the kindest intentions, 'of fever-contagion' and keeping away on Wednesday on that account, it is indeed 'out of the question,'—for a first reason (which dispenses with any second) because I disbelieve altogether in contagion from fevers, and especially from typhus fevers—as do much better-informed men than myself—I speak quite advisedly. If there should be only that reason, therefore, you will not deprive me of the happiness of seeing you next Wednesday.

I am not well—have a cold, influenza or some unpleasant thing, but am better than yesterday—My mother is much better, I think (she and my sister are resolute non-contagionists, mind you that!)
God bless you and all you love! dearest, I am your
R.B.

-from The Letters of Elizabeth Barrett Barrett and Robert Browning 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

rosicrucians and cloaks

Elizabeth Barrett Barrett to Robert Browning

Wednesday.[Post-mark, October 1, 1845.]

I have read to the last line of your 'Rosicrucian'*; and my scepticism grew and grew through Hume's process of doubtful doubts, and at last rose to the full stature of incredulity ... for I never could believe Shelley capable of such a book (call it a book!), not even with a flood of boarding-school idiocy dashed in by way of dilution. Altogether it roused me to deny myself so far as to look at the date of the book, and to get up and travel to the other end of the room to confront it with other dates in the 'Letters from Abroad' **... (I, who never think of a date except the 'A.D.,' and am inclined every now and then to write that down as 1548 ...) well! and on comparing these dates in these two volumes before my eyes, I find that your Rosicrucian was 'printed for Stockdale' in 1822***, and that Shelley died in the July of the same year!!—There, is a vindicating fact for you! And unless the 'Rosicrucian' went into more editions than one, and dates here from a later one, ... which is not ascertainable from this fragment of a titlepage, ... the innocence of the great poet stands proved—now doesn't it? For nobody will say that he published such a book in the last year of his life, in the maturity of his genius, and that Godwin's daughter helped him in it! That 'dripping dew' from the skeleton is the only living word in the book!—which really amused me notwithstanding, from the intense absurdity of the whole composition ... descriptions ... sentiments ... and morals.

Judge yourself if I had not better say 'No' about the cloak! I would take it if you wished such a kindness to me—and although you might find it very useful to yourself ... or to your mother or sister ... still if you wished me to take it I should like to have it, and the mantle of the prophet might bring me down something of his spirit! but do you remember ... do you consider ... how many talkers there are in this house, and what would be talked—or that it is not worth while to provoke it all? And Papa, knowing it, would not like it—and altogether it is far better, believe me, that you should keep your own cloak, and I, the thought of the kindness you meditated in respect to it. I have heard nothing more—nothing.

I was asked the other day by a very young friend of mine ... the daughter of an older friend who once followed you up-stairs in this house ... Mr. Hunter, an Independent minister ... for 'Mr. Browning's autograph.' She wants it for a collection ... for her album—and so, will you write out a verse or two on one side of note paper ... not as you write for the printers ... and let me keep my promise and send it to her? I forgot to ask you before. Or one verse will do ... anything will do ... and don't let me be bringing you into vexation. It need not be of MS. rarity.

You are not better ... really ... I fear. And your mother's being ill affects you more than you like to admit, I fear besides. Will you, when you write, say how both are ... nothing extenuating, you know. May God bless you, my dearest friend.
Ever yours,
E.B.B.

* St. Irvyne; or, the Rosicrucian: a Romance by Percy Bysshe Shelley, originally published anonymously ["By a Gentleman of the Univesity of Oxford"] in 1811.

** Essays, Letters from Abroad, Translations and Fragments, by Percy Bysshe Shelley, edited by Mary Shelley (London: Moxon, 1840) 2 vols.

*** Shelley's second gothic tale, St. Irvyne; or, the Rosicrucian: a Romance originally published by Stockdale in 1811 and reissued with a new title page in 1822.

-from The Letters of Elizabeth Barrett Barrett and Robert Browning 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

but one word before the silence

Elizabeth Barrett Barrett to Robert Browning

Evening.[Post-mark, September 18, 1845.]

ut one word before we leave the subject, and then to leave it finally; but I cannot let you go on to fancy a mystery anywhere, in obstacles or the rest. You deserve at least a full frankness; and in my letter I meant to be fully frank. I even told you what was an absurdity, so absurd that I should far rather not have told you at all, only that I felt the need of telling you all: and no mystery is involved in that, except as an 'idiosyncrasy' is a mystery. But the 'insurmountable' difficulty is for you and everybody to see; and for me to feel, who have been a very byword among the talkers, for a confirmed invalid through months and years, and who, even if I were going to Pisa and had the best prospects possible to me, should yet remain liable to relapses and stand on precarious ground to the end of my life. Now that is no mystery for the trying of 'faith'; but a plain fact, which neither thinking nor speaking can make less a fact. But don't let us speak of it.

I must speak, however, (before the silence) of what you said and repeat in words for which I gratefully thank you—and which are not 'ostentatious' though unnecessary words—for, if I were in a position to accept sacrifices from you, I would not accept such a sacrifice ... amounting to a sacrifice of duty and dignity as well as of ease and satisfaction ... to an exchange of higher work for lower work ... and of the special work you are called to, for that which is work for anybody. I am not so ignorant of the right uses and destinies of what you have and are. You will leave the Solicitor-Generalships to the Fitzroy Kellys, and justify your own nature; and besides, do me the little right, (over the over-right you are always doing me) of believing that I would not bear or dare to do you so much wrong, if I were in the position to do it.

And for all the rest I thank you—believe that I thank you ... and that the feeling is not so weak as the word. That you should care at all for me has been a matter of unaffected wonder to me from the first hour until now—and I cannot help the pain I feel sometimes, in thinking that it would have been better for you if you never had known me. May God turn back the evil of me! Certainly I admit that I cannot expect you ... just at this moment, ... to say more than you say, ... and I shall try to be at ease in the consideration that you are as accessible to the 'unicorn' now as you ever could be at any former period of your life. And here I have done. I had done living, I thought, when you came and sought me out! and why? and to what end? That, I cannot help thinking now. Perhaps just that I may pray for you—which were a sufficient end. If you come on Saturday I trust you to leave this subject untouched,—as it must be indeed henceforth.

I am yours,
E.B.B.
No word more of Pisa—I shall not go, I think.

-from The Letters of Elizabeth Barrett Barrett and Robert Browning 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

shadow in the glass

Elizabeth Barrett Barrett to Robert Browning

Post-mark, August 8, 1845.]


ust to show what may be lost by my crossings out, I will tell you the story of the one in the 'Duchess'—and in fact it is almost worth telling to a metaphysician like you, on other grounds, that you may draw perhaps some psychological good from the absurdity of it. Hear, then. When I had done writing the sheet of annotations and reflections on your poem I took up my pencil to correct the passages reflected on with the reflections, by the crosses you may observe, just glancing over the writing as I did so. Well! and, where that erasure is, I found a line purporting to be extracted from your 'Duchess,' with sundry acute criticisms and objections quite undeniably strong, following after it; only, to my amazement, as I looked and looked, the line so acutely objected to and purporting, as I say, to, be taken from the 'Duchess,' was by no means to be found in the 'Duchess,' ... nor anything like it, ... and I am certain indeed that, in the 'Duchess' or out of it, you never wrote such a bad line in your life. And so it became a proved thing to me that I had been enacting, in a mystery, both poet and critic together—and one so neutralizing the other, that I took all that pains you remark upon to cross myself out in my double capacity, ... and am now telling the story of it notwithstanding. And there's an obvious moral to the myth, isn't there? for critics who bark the loudest, commonly bark at their own shadow in the glass, as my Flush used to do long and loud, before he gained experience and learnt the γνωθι σεαυτον in the apparition of the brown dog with the glittering dilating eyes, ... and as I did, under the erasure. And another moral springs up of itself in this productive ground; for, you see, ... 'quand je m'efface il n'ya pas grand mal.'

And I am to be made to work very hard, am I? But you should remember that if I did as much writing as last summer, I should not be able to do much else, ... I mean, to go out and walk about ... for really I think I could manage to read your poems and write as I am writing now, with ever so much head-work of my own going on at the same time. But the bodily exercise is different, and I do confess that the novelty of living more in the outer life for the last few months than I have done for years before, make me idle and inclined to be idle—and everybody is idle sometimes—even you perhaps—are you not? For me, you know, I do carpet-work—ask Mrs. Jameson—and I never pretend to be in a perpetual motion of mental industry. Still it may not be quite as bad as you think: I have done some work since 'Prometheus'—only it is nothing worth speaking of and not a part of the romance-poem which is to be some day if I live for it—lyrics for the most part, which lie written illegibly in pure Egyptian—oh, there is time enough, and too much perhaps! and so let me be idle a little now, and enjoy your poems while I can. It is pure enjoyment and must be—but you do not know how much, or you would not talk as you do sometimes ... so wide of any possible application.

And do not talk again of what you would 'sacrifice' for me. If you affect me by it, which is true, you cast me from you farther than ever in the next thought. That is true.

The poems ... yours ... which you left with me,—are full of various power and beauty and character, and you must let me have my own gladness from them in my own way.

Now I must end this letter. Did you go to Chelsea and hear the divine philosophy?

Tell me the truth always ... will you? I mean such truths as may be painful to me though truths....
May God bless you, ever dear friend.
E.B.B.


-from The Letters of Elizabeth Barrett Barrett and Robert Browning 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

Gender Issues vs. Robert Browning's attentions?

Elizabeth Barrett Barrett to Robert Browning

Wednesday-Thursday Evening

[Post-mark, July 4, 1845.]

Yes—I know the first part of the 'Duchess' and have it here—and for the rest of the poem, don't mind about being very legible, or even legible in the usual sense; and remember how it is my boast to be able to read all such manuscript writing as never is read by people who don't like caviare. Now you won't mind? really I rather like blots than otherwise—being a sort of patron-saint of all manner of untidyness ... if Mr. Kenyon's reproaches (of which there's a stereotyped edition) are justified by the fact—and he has a great organ of order, and knows 'disorderly persons' at a glance, I suppose. But you won't be particular with me in the matter of transcription? that is what I want to make sure of. And even if you are not particular, I am afraid you are not well enough to be troubled by writing, and writing and the thinking that comes with it—it would be wiser to wait till you are quite well—now wouldn't it?—and my fear is that the 'almost well' means 'very little better.' And why, when there is no motive for hurrying, run any risk? Don't think that I will help you to make yourself ill. That I refuse to do even so much work as the 'little dessert-knife' in the way of murder, ... do think! So upon the whole, I expect nothing on Saturday from this distance—and if it comes unexpectedly (I mean the Duchess and not Saturday) let it be at no cost, or at the least cost possible, will you? I am delighted in the meanwhile to hear of the quantity of 'mala herba'; and hemlock does not come up from every seed you sow, though you call it by ever such bad names.

Talking of poetry, I had a newspaper 'in help of social and political progress' sent to me yesterday from America—addressed to—just my name ... poetess, London! Think of the simplicity of those wild Americans in 'calculating' that 'people in general' here in England know what a poetess is!—Well—the post office authorities, after deep meditation, I do not doubt, on all probable varieties of the chimpanzee, and a glance to the Surrey Gardens on one side, and the Zoological department of Regent's Park on the other, thought of 'Poet's Corner,' perhaps, and wrote at the top of the parcel, 'Enquire at Paternoster Row'! whereupon the Paternoster Row people wrote again, 'Go to Mr. Moxon'—and I received my newspaper.

And talking of poetesses, I had a note yesterday (again) which quite touched me ... from Mr. Hemans—Charles, the son of Felicia—written with so much feeling, that it was with difficulty I could say my perpetual 'no' to his wish about coming to see me. His mother's memory is surrounded to him, he says, 'with almost a divine lustre'—and 'as it cannot be to those who knew the writer alone and not the woman.' Do you not like to hear such things said? and is it not better than your tradition about Shelley's son? and is it not pleasant to know that that poor noble pure-hearted woman, the Vittoria Colonna of our country, should be so loved and comprehended by some ... by one at least ... of her own house? Not that, in naming Shelley, I meant for a moment to make a comparison—there is not equal ground for it. Vittoria Colonna does not walk near Dante—no. And if you promised never to tell Mrs. Jameson ... nor Miss Martineau ... I would confide to you perhaps my secret profession of faith—which is ... which is ... that let us say and do what we please and can ... there is a natural inferiority of mind in women—of the intellect ... not by any means, of the moral nature—and that the history of Art and of genius testifies to this fact openly. Oh—I would not say so to Mrs. Jameson for the world. I believe I was a coward to her altogether—for when she denounced carpet work as 'injurious to the mind,' because it led the workers into 'fatal habits of reverie,' I defended the carpet work as if I were striving pro aris et focis, (I, who am so innocent of all that knowledge!) and said not a word for the poor reveries which have frayed away so much of silken time for me ... and let her go away repeating again and again ... 'Oh, but you may do carpet work with impunity—yes! because you can be writing poems all the while.'!

Think of people making poems and rugs at once. There's complex machinery for you!

I told you that I had a sensation of cold blue steel from her eyes!—And yet I really liked and like and shall like her. She is very kind I believe—and it was my mistake—and I correct my impressions of her more and more to perfection, as you tell me who know more of her than I.

Only I should not dare, ... ever, I think ... to tell her that I believe women ... all of us in a mass ... to have minds of quicker movement, but less power and depth ... and that we are under your feet, because we can't stand upon our own. Not that we should either be quite under your feet! so you are not to be too proud, if you please—and there is certainly some amount of wrong—: but it never will be righted in the manner and to the extent contemplated by certain of our own prophetesses ... nor ought to be, I hold in intimate persuasion. One woman indeed now alive ... and only that one down all the ages of the world—seems to me to justify for a moment an opposite opinion—that wonderful woman George Sand; who has something monstrous in combination with her genius, there is no denying at moments (for she has written one book, Leila, which I could not read, though I am not easily turned back,) but whom, in her good and evil together, I regard with infinitely more admiration than all other women of genius who are or have been. Such a colossal nature in every way,—with all that breadth and scope of faculty which women want—magnanimous, and loving the truth and loving the people—and with that 'hate of hate' too, which you extol—so eloquent, and yet earnest as if she were dumb—so full of a living sense of beauty, and of noble blind instincts towards an ideal purity—and so proving a right even in her wrong. By the way, what you say of the Vidocq museum reminds me of one of the chamber of masonic trial scenes in 'Consuelo.' Could you like to see those knives?

I began with the best intentions of writing six lines—and see what is written! And all because I kept my letter back ... from a doubt about Saturday—but it has worn away, and the appointment stands good ... for me: I have nothing to say against it.

But belief in mesmerism is not the same thing as general unbelief—to do it justice—now is it? It may be super-belief as well. Not that there is not something ghastly and repelling to me in the thought of Dr. Elliotson's great bony fingers seeming to 'touch the stops' of a whole soul's harmonies—as in phreno-magnetism. And I should have liked far better than hearing and seeing that, to have heard you pour the 'cupful of Diderot's rinsings,' out,—and indeed I can fancy a little that you and how you could do it—and break the cup too afterwards!
Another sheet—and for what?

What is written already, if you read, you do so meritoriously—and it's an example of bad writing, if you want one in the poems. I am ashamed, you may see, of having written too much, (besides)—which is much worse—but one writes and writes: I do at least—for you are irreproachable. Ever yours my dear friend, as if I had not written ... or had!
E.B.B.

-from The Letters of Elizabeth Barrett Barrett to Robert Browning 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

mesmerism and mysticism

Elizabeth Barrett Barrett to Robert Browning

Monday.[June 30, 1845.]

I send back the prize poems which have been kept far too long even if I do not make excuses for the keeping—but our sins are not always to be measured by our repentance for them. Then I am well enough this morning to have thought of going out till they told me it was not at all a right day for it ... too windy ... soft and delightful as the air seems to be—particularly after yesterday, when we had some winter back again in an episode. And the roses do not die; which is quite magnanimous of them considering their reverses; and their buds are coming out in most exemplary resignation—like birds singing in a cage. Now that the windows may be open, the flowers take heart to live a little in this room.

And think of my forgetting to tell you on Saturday that I had known of a letter being received by somebody from Miss Martineau, who is at Ambleside at this time and so entranced with the lakes and mountains as to be dreaming of taking or making a house among them, to live in for the rest of her life. Mrs. Trollope, you may have heard, had something of the same nympholepsy—no, her daughter was 'settled' in the neighbourhood—that is the more likely reason for Mrs. Trollope! and the spirits of the hills conspired against her the first winter and almost slew her with a fog and drove her away to your Italy where the Oreadocracy has gentler manners. And Miss Martineau is practising mesmerism and miracles on all sides she says, and counts on Archbishop Whately as a new adherent. I even fancy that he has been to see her in the character of a convert. All this from Mr. Kenyon.

There's a strange wild book called the Autobiography of Heinrich Stilling ... one of those true devout deep-hearted Germans who believe everything, and so are nearer the truth, I am sure, than the wise who believe nothing; but rather over-German sometimes, and redolent of sauerkraut—and he gives a tradition ... somewhere between mesmerism and mysticism, ... of a little spirit with gold shoebuckles, who was his familiar spirit and appeared only in the sunshine I think ... mottling it over with its feet, perhaps, as a child might snow. Take away the shoebuckles and I believe in the little spirit—don't you? But these English mesmerists make the shoebuckles quite conspicuous and insist on them broadly; and the Archbishops Whately may be drawn by them (who can tell?) more than by the little spirit itself. How is your head to-day? now really, and nothing extenuating? I will not ask of poems, till the 'quite well' is authentic. May God bless you always! my dear friend!
E.B.B.
After all the book must go another day. I live in chaos do you know? and I am too hurried at this moment ... yes it is here.

-from The Life of Robert Browning and Elizabeth Barrett Barrett 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

gathering of light on light

Elizabeth Barrett Barrett to Robert Browning

Monday.

[Post-mark, June 17, 1845.]

Yes, I quite believe as you do that what is called the 'creative process' in works of Art, is just inspiration and no less—which made somebody say to me not long since; And so you think that Shakespeare's 'Othello' was of the effluence of the Holy Ghost?'—rather a startling deduction, ... only not quite as final as might appear to somebodies perhaps. At least it does not prevent my going on to agree with the saying of Spiridion, ... do you remember?... 'Tout ce que l'homme appelle inspiration, je l'appelle aussi revelation,' ... if there is not something too self-evident in it after all—my sole objection! And is it not true that your inability to analyse the mental process in question, is one of the proofs of the fact of inspiration?—as the gods were known of old by not being seen to move their feet,—coming and going in an equal sweep of radiance.—And still more wonderful than the first transient great light you speak of, ... and far beyond any work of reflection, except in the pure analytical sense in which you use the word, ... appears that gathering of light on light upon particular points, as you go (in composition) step by step, till you get intimately near to things, and see them in a fullness and clearness, and an intense trust in the truth of them which you have not in any sunshine of noon (called real!) but which you have then ... and struggle to communicate:—an ineffectual struggle with most writers (oh, how ineffectual!) and when effectual, issuing in the 'Pippa Passes,' and other master-pieces of the world.

You will tell me what you mean exactly by being jealous of your own music? You said once that you had had a false notion of music, or had practised it according to the false notions of other people: but did you mean besides that you ever had meant to despise music altogether—because that, it is hard to set about trying to believe of you indeed. And then, you can praise my verses for music?—Why, are you aware that people blame me constantly for wanting harmony—from Mr. Boyd who moans aloud over the indisposition of my 'trochees' ... and no less a person than Mr. Tennyson, who said to somebody who repeated it, that in the want of harmony lay the chief defect of the poems, 'although it might verily be retrieved, as he could fancy that I had an ear by nature.' Well—but I am pleased that you should praise me—right or wrong—I mean, whether I am right or wrong in being pleased! and I say so to you openly, although my belief is that you are under a vow to our Lady of Loretto to make giddy with all manner of high vanities, some head, ... not too strong for such things, but too low for them, ... before you see again the embroidery on her divine petticoat. Only there's a flattery so far beyond praise ... even your praise—as where you talk of your verses being liked &c., and of your being happy to bring them here, ... that is scarcely a lawful weapon; and see if the Madonna may not signify so much to you!—Seriously, you will not hurry too uncomfortably, or uncomfortably at all, about the transcribing? Another day, you know, will do as well—and patience is possible to me, if not 'native to the soil.'

Also I am behaving very well in going out into the noise; not quite out of doors yet, on account of the heat—and I am better as you say, without any doubt at all, and stronger—only my looks are a little deceitful; and people are apt to be heated and flushed in this weather, one hour, to look a little more ghastly an hour or two after. Not that it is not true of me that I am better, mind! Because I am.

The 'flower in the letter' was from one of my sisters—from Arabel (though many of these poems are ideal ... will you understand?) and your rose came quite alive and fresh, though in act of dropping its beautiful leaves, because of having to come to me instead of living on in your garden, as it intended. But I thank you—for this, and all, my dear friend.
E.B.B.

-from The Letters of Robert Browning and Elizabeth Barrett Barrett 1845-1846 (London: Smith, Elder, & Co., 1900) vol. 1.

cacistography possible

Elizabeth Barrett Barrett to Robert Browning

Friday.[Post-mark, June 14, 1845.]

Yes, the poem is too good in certain respects for the prizes given in colleges, (when all the pure parsley goes naturally to the rabbits), and has a great deal of beauty here and there in image and expression. Still I do not quite agree with you that it reaches the Tennyson standard any wise; and for the blank verse, I cannot for a moment think it comparable to one of the grand passages in 'Oenone,' and 'Arthur' and the like. In fact I seem to hear more in that latter blank verse than you do, ... to hear not only a 'mighty line' as in Marlowe, but a noble full orbicular wholeness in complete passages—which always struck me as the mystery of music and great peculiarity in Tennyson's versification, inasmuch as he attains to these complete effects without that shifting of the pause practised by the masters, ... Shelley and others. A 'linked music' in which there are no links!—that, you would take to be a contradiction—and yet something like that, my ear has always seemed to perceive; and I have wondered curiously again and again how there could be so much union and no fastening. Only of course it is not model versification—and for dramatic purposes, it must be admitted to be bad.
Which reminds me to be astonished for the second time how you could think such a thing of me as that I wanted to read only your lyrics, ... or that I 'preferred the lyrics' ... or something barbarous in that way? You don't think me 'ambidexter,' or 'either-handed' ... and both hands open for what poems you will vouchsafe to me; and yet if you would let me see anything you may have in a readable state by you, ... 'The Flight of the Duchess' ... or act or scene of 'The Soul's Tragedy,' ... I shall be so glad and grateful to you! Oh—if you change your mind and choose to be bien prié, I will grant it is your right, and begin my liturgy directly. But this is not teazing (in the intention of it!) and I understand all about the transcription, and the inscrutableness of rough copies,—that is, if you write as I do, so that my guardian angel or M. Champollion cannot read what is written. Only whatever they can, (remember!) I can: and you are not to mind trusting me with the cacistography possible to mortal readers.

The sun shines so that nobody dares complain of the east wind—and indeed I am better altogether. May God bless you, my dear friend.
E.B.B.

-from The Letters of Robert Browning and Elizabeth Barrett Barrett 1845-1846 (London: Smith, Elder & Co., 1900) vol. 1.

April is a Parthian with a dart

Elizabeth B. Barrett to Robert Browning

50 Wimpole Street: Feb. 27, 1845.

Yes, but, dear Mr. Browning, I want the spring according to the new 'style' (mine), and not the old one of you and the rest of the poets. To me unhappily, the snowdrop is much the same as the snow—it feels as cold underfoot—and I have grown sceptical about 'the voice of the turtle,' the east winds blow so loud. April is a Parthian with a dart, and May (at least the early part of it) a spy in the camp. That is my idea of what you call spring; mine, in the new style! A little later comes my spring; and indeed after such severe weather, from which I have just escaped with my life, I may thank it for coming at all. How happy you are, to be able to listen to the 'birds' without the commentary of the east wind, which, like other commentaries, spoils the music. And how happy I am to listen to you, when you write such kind open-hearted letters to me! I am delighted to hear all you say to me of yourself, and 'Luria,' and the spider, and to do him no dishonour in the association, of the great teacher of the age, Carlyle, who is also yours and mine. He fills the office of a poet—does he not?—by analysing humanity back into its elements, to the destruction of the conventions of the hour. That is—strictly speaking—the office of the poet, is it not?—and he discharges it fully, and with a wider intelligibility perhaps as far as the contemporary period is concerned, than if he did forthwith 'burst into a song.'

But how I do wander!—I meant to say, and I will call myself back to say, that spring will really come some day I hope and believe, and the warm settled weather with it, and that then I shall be probably fitter for certain pleasures than I can appear even to myself now.

And, in the meantime, I seem to see 'Luria' instead of you; I have visions and dream dreams. And the 'Soul's Tragedy,' which sounds to me like the step of a ghost of an old Drama! and you are not to think that I blaspheme the Drama, dear Mr. Browning; or that I ever thought of exhorting you to give up the 'solemn robes' and tread of the buskin. It is the theatre which vulgarises these things; the modern theatre in which we see no altar! where the thymelé is replaced by the caprice of a popular actor. And also, I have a fancy that your great dramatic power would work more clearly and audibly in the less definite mould—but you ride your own faculty as Oceanus did his sea-horse, 'directing it by your will'; and woe to the impertinence, which would dare to say 'turn this way' or 'turn from that way'—it should not be my impertinence. Do not think I blaspheme the Drama. I have gone through 'all such reading as should never be read' (that is, by women!), through my love of it on the contrary. And the dramatic faculty is strong in you—and therefore, as 'I speak unto a wise man, judge what I say.'

For myself and my own doings, you shall hear directly what I have been doing, and what I am about to do. Some years ago, as perhaps you may have heard, (but I hope not, for the fewer who hear of it the better)—some years ago, I translated or rather undid into English, the 'Prometheus' of Æschylus. To speak of this production moderately (not modestly), it is the most miserable of all miserable versions of the class. It was completed (in the first place) in thirteen days—the iambics thrown into blank verse, the lyrics into rhymed octosyllabics and the like,—and the whole together as cold as Caucasus, and as flat as the nearest plain. To account for this, the haste may be something; but if my mind had been properly awakened at the time, I might have made still more haste and done it better. Well,—the comfort is, that the little book was unadvertised and unknown, and that most of the copies (through my entreaty of my father) are shut up in the wardrobe of his bedroom. If ever I get well I shall show my joy by making a bonfire of them. In the meantime, the recollection of this sin of mine has been my nightmare and daymare too, and the sin has been the 'Blot on my escutcheon.' I could look in nobody's face, with a 'Thou canst not say I did it'—I know, I did it. And so I resolved to wash away the transgression, and translate the tragedy over again. It was an honest straightforward proof of repentance—was it not? and I have completed it, except the transcription and last polishing. If Æschylus stands at the foot of my bed now, I shall have a little breath to front him. I have done my duty by him, not indeed according to his claims, but in proportion to my faculty. Whether I shall ever publish or not (remember) remains to be considered—that is a different side of the subject. If I do, it may be in a magazine—or—but this is another ground. And then, I have in my head to associate with the version, a monodrama of my own,—not a long poem, but a monologue of Æschylus as he sate a blind exile on the flats of Sicily and recounted the past to his own soul, just before the eagle cracked his great massy skull with a stone.

But my chief intention just now is the writing of a sort of novel-poem—a poem as completely modern as 'Geraldine's Courtship,' running into the midst of our conventions, and rushing into drawing-rooms and the like, 'where angels fear to tread'; and so, meeting face to face and without mask the Humanity of the age, and speaking the truth as I conceive of it out plainly. That is my intention. It is not mature enough yet to be called a plan. I am waiting for a story, and I won't take one, because I want to make one, and I like to make my own stories, because then I can take liberties with them in the treatment.

Who told me of your skulls and spiders? Why, couldn't I know it without being told? Did Cornelius Agrippa know nothing without being told? Mr. Horne never spoke it to my ears—(I never saw him face to face in my life, although we have corresponded for long and long), and he never wrote it to my eyes. Perhaps he does not know that I know it. Well, then! if I were to say that I heard it from you yourself, how would you answer? And it was so. Why, are you not aware that these are the days of mesmerism and clairvoyance? Are you an infidel? I have believed in your skulls for the last year, for my part.

And I have some sympathy in your habit of feeling for chairs and tables. I remember, when I was a child and wrote poems in little clasped books, I used to kiss the books and put them away tenderly because I had been happy near them, and take them out by turns when I was going from home, to cheer them by the change of air and the pleasure of the new place. This, not for the sake of the verses written in them, and not for the sake of writing more verses in them, but from pure gratitude. Other books I used to treat in a like manner—and to talk to the trees and the flowers, was a natural inclination—but between me and that time, the cypresses grow thick and dark.

Is it true that your wishes fulfil themselves? And when they do, are they not bitter to your taste—do you not wish them unfulfilled? Oh, this life, this life! There is comfort in it, they say, and I almost believe—but the brightest place in the house, is the leaning out of the window—at least, for me.

Of course you are self-conscious—How could you be a poet otherwise? Tell me.
Ever faithfully yours,
E.B.B.

And was the little book written with Mr. Mill, pure metaphysics, or what?

-from the Letters of Robert Browning and Elizabeth Barrett Barrett 1845-1846 (London: Smith, Elder & Co., 1900) vol. 1.