AN INTRODUCTION TO THE STUDY OF BROWNING
by
ARTHUR SYMONS
New Edition Revised and Enlarged
First Edition, 1906. Reprinted, 1916 London, Paris and Toronto J. M. Dent & Sons Ltd. 10-13 Bedford Street, W.C. 1916
_" ... Browning, a great poet, a very great poet indeed, as the world will have to agree with us in thinking."_--LANDOR.
TO
GEORGE MEREDITH
NOVELIST AND POET
THIS LITTLE BOOK ON AN ILLUSTRIOUS CONTEMPORARY
IS WITH DEEP RESPECT AND ADMIRATION
INSCRIBED.
PREFACE
This _Introduction to the Study of Browning_, which is now reprinted in a new form, revised throughout, and with everything relating to facts carefully brought up to date, has been for many years out of print. I wrote it as an act of homage to the poet whom I had worshipped from my boyhood; I meant it to be, in almost his own words, used of Shelley, some approach to "the signal service it was the dream of my boyhood to render to his fame and memory."
It was sufficiently rewarded by three things: first, by the generous praise of Walter Pater, in the _Guardian_, which led to the beginning of my friendship with him; then, by a single sentence from George Meredith, "You have done knightly service to a brave leader"; lastly, by a letter from Browning himself, in which he said: "How can I manage even to thank--much more praise--what, in its generosity of appreciation, makes the poorest recognition 'come too near the praising of myself'?"
I repeat these things now, because they seem to justify me in dragging back into sight a book written when I was very young, and, as I am only too conscious, lacking in many of the qualities which I have since acquired or developed. But, on going over it, I have found, for the most part, what seems to me a sound foundation, though little enough may be built on that foundation. I have revised many sentences, and a few opinions; but, while conscious that I should approach the whole subject now in a different way, I have found surprisingly few occasions for any fundamental or serious change of view. I am conscious how much I owed, at that time, to the most helpful and judicious friend whom I could possibly have had at my elbow, Dykes Campbell. There are few pages of my manuscript which he did not read and criticise, and not a page of my proofs which he did not labour over as if it had been his own. He forced me to learn accuracy, he cut out my worst extravagances, he kept me sternly to my task. It was in writing this book under his encouragement and correction that I began to learn the first elements of literary criticism.
Table of contents (by pages)
- 1: An Introduction to the Study of Browning by Symons
- 2: I have altered everything that seemed to require altering
- 3: The dramatic and the metaphysical
- 4: Most thinkers write and speak of man
- 5: Hence the propriety of the monologue
- 6: The very essence of the modern world
- 7: The popularity of rare and delicate poetry
- 8: His rhymes are as accurate as they are ingenious
- 9: 116 lines which form Browning's longest work and masterpiece
- 10: But it is only the excuse of a misconception
- 11: What delicacy and expressiveness of modulation
- 12: They may be compared with Abt Vogler
- 13: And in the sixth line Porphyria may enter
- 14: As in Ivan Ivanovitch or Ned Bratts
- 15: Footnote 6 George Chapman A Critical Essay
- 16: PAULINE was written at the age of twenty
- 17: The keen intellectual and ethical insight
- 18: Michal is Browning's first sketch of a woman
- 19: The avoidance of much external detail
- 20: STRAFFORD an Historical Tragedy
- 21: The implacable sternness of Pym
- 22: The psychological and the historical
- 23: Sordello sees no alternative but to do nothing
- 24: Browning prepared himself for writing Sordello
- 25: That between Ottima and Sebald
- 26: The representation of Ottima and Sebald
- 27: KING VICTOR AND KING CHARLES A Tragedy
- 28: Or about the time of the publication of Paracelsus
- 29: Now known as Soliloquy of the Spanish Cloister
- 30: And named respectively Dramatic Lyrics
- 31: THE RETURN OF THE DRUSES A Tragedy in Five Acts
- 32: In striking contrast with Djabal stands Loys
- 33: Supported by KHALIL and LOYS
- 34: Robert Browning and Alfred Domett
- 35: Who has stood by Colombe when all her other friends failed
- 36: The grave courtesy of his speech to Colombe
- 37: How they brought the Good News from Ghent to Aix
- 38: And this last fairest tress of all
- 39: I fought With tooth and nail to save my niche
- 40: Old Gandolf with his paltry onion stone
- 41: Is supposed to be related by Peter Ronsard
- 42: The poem is a fusion of many elements
- 43: And apparently Chiappino proves his nobility
- 44: Ogniben orders him to his house
- 45: The central figure is Luria himself
- 46: Braccio is the chief schemer against Luria
- 47: Without one double rhyme throughout
- 48: Till clot Jammed against clot
- 49: Andrea del Sarto and Fra Lippo Lippi deal with art
- 50: The story of Filippo Lippi 29 is taken
- 51: Karshish of the Eastern and believing
- 52: Bishop Blougram's Apology introduces a new element
- 53: Master Hugues of Saxe Gotha and A Toccata of Galuppi's
- 54: Venice spent what Venice earned
- 55: Describing two imaginary busts
- 56: Wholly unlike that of any other poem
- 57: Simplest and most pathetic pieces
- 58: Is admirably rendered in the slow and solemn metre
- 59: The first in which Browning has used the terza rima
- 60: The breathless eagerness of the mesmerist
- 61: With its winding and liquid melody
- 62: Norbert and Constance are two lovers
- 63: Footnote 31 Baldassarre Galuppi
- 64: Which together made another quatrain
- 65: A poem closely akin in sentiment and style
- 66: The poem a little recalls Cleon
- 67: 'Lieth flat and loveth Setebos
- 68: Comes the group of lyrical poems
- 69: Then Prospice may have been excelled as a Hymn of Death
- 70: See Miss Marx's Account of Abbe Vogler
- 71: As neither Guido nor Caponsacchi can be called the hero
- 72: And kills his wife and the aged Comparini
- 73: The two monologues spoken by him are
- 74: Pompilia will be presently with God
- 75: We pass to the death bed of Pompilia
- 76: It is comically clever and delightfully exasperating
- 77: For Guido he can see no excuse
- 78: Raving blasphemy and foaming impenitence
- 79: Presents us with a new version of the story of Alkestis
- 80: Is the amber in which Browning has embalmed the Alkestis
- 81: Prince Hohenstiel Schwangau 44 is a blank verse monologue
- 82: His comments represent his real conduct
- 83: Like those of Prince Hohenstiel Schwangau
- 84: We see the wronged wife Elvire
- 85: FOOTNOTES Footnote 47 Handbook
- 86: The Firm Miranda Mellerio Brothers
- 87: The revellers retire abashed before Balaustion
- 88: And that other on the labours of Herakles
- 89: The Inn Album is a story of wrecked lives
- 90: In its very absence of subtlety
- 91: The Epilogue follows up the pendant to Pacchiarotto
- 92: Natural Magic and Magical Nature
- 93: Still melts your moonbeam through me
- 94: The versification of an anecdote recorded by Baldinucci
- 95: 'to gape for AEschylus and get Theognis
- 96: La saisiaz the two poets of croisic
- 97: Leads into the richer record of Desforges
- 98: In Martin Relph which embodies
- 99: Slip forth new fiend and fiend
- 100: So is Pheidippides happy for ever
- 101: What folly makes Hoseyn shout 'Dog Duhl
- 102: Duhl had wound His way to the nest
- 103: A far finer poem than Jochanan Hakkadosh
- 104: Is not dissimilar in style to Cristina and Monaldeschi
- 105: These deal severally with faith Shah Abbas
- 106: Parleyings with certain people of importance in their day
- 107: In rivalry with Gerard de Lairesse
- 108: Asolando a name taken from the invented verb Asolare
- 109: Car nous voulons la Nuance encor
- 110: Of such lyrics as Summum Bonum
- 111: If the audience of Milton and of Wordsworth has widened
- 112: Where an edition of the complete works was first published
- 113: The Laboratory Ancien Regime
- 114: By Elizabeth Barrett and Robert Browning
- 115: There are no new poems in this edition
- 116: Gold Hair a Legend of Pornic
- 117: La saisiaz the two poets of croisic
- 118: Sonnet on Goldoni dated Venice
- 119: Parleyings with Certain People
- 120: Not a drama the canons of the drama are well known
- 121: Preface to Sordello not in first edition
- 122: Preface to Bells and Pomegranates
- 123: 58 65 Dramatic Romances and Lyrics
- 124: 59 King Victor and King Charles
- 125: 195 Pacchiarotto and Other Poems
- 126: 130 Prince Hohenstiel Schwangau
