Men and Women | Page 2

alighting, for flitting thither and hither, or for pursuing some sudden rapt whirl of flight in Heaven's face at fancy's bidding. They are certainly not less original than those other solider, earth-fast poems, but they are less unique. Being motived in transient fancy, they are more akin to poems by other hands, and could be classed more readily with them by any observer, despite all differences, as little poetic romances or as a species of lyric.
They were probably first found praiseworthy, not only because they were simpler, but because, being more like work already understood and approved, adventurous criticism was needed to taste their quality. The other longer poems in blank verse, graver and more dignified, yet even more vivid, and far more life- encompassing, which bore the rounded impress of the living human being, instead of the shadowy motion of the lively human fancy--these are the birth of a process of imaginative brooding upon the development of man by means of individuality throughout the slow, unceasing flow of human history. Browning evidently grew aware that whatever these poems of personality might prove to be worth to the world, these were the ones deserving of a place apart, under the early title of "Men and Women," which he thought especially suited to the more roundly modelled and distinctively colored exemplars of his peculiar faculty.
In his next following collection, under the similar descriptive title of "Dramatis Personae," he added to this class of work, shaping in the mould of blank verse mainly used for "Men and Women" his personifications of the Medium Mr. Sludge, the embryo theologian Caliban, the ripened mystical saint of "A Death in the Desert"; while Abt Vogler, the creative musician, Rabbi ben Ezra, the intuitional philosopher, and the chastened adept in loving, James Lee's wife, although held within the embrace of their maker's dramatic conception of them, as persons of his stage, were made to pour out their speech in rhyme as Johannes Agricola in the earlier volume uttered his creed and Rudel his love- message, as if the heat of their emotion-moved personality required such an outlet. Some such general notion as this of the scope of this volume, and of the design of the poet in the construction, classification, and orderly arrangement of so much of his briefer work as is here contained seems to be borne out upon a closer examination. On the threshold of this new poetic world of personality stands the Poet of the poem significantly called "Transcendentalism," who is speaking to another poet about the too easily obvious, metaphor-bare philosophy of his opus in twelve books. That the admonishing poet is stationed there at the very door-sill of the Gallery of Men and Women is surely not accidental, even if Browning's habit of plotting his groups of poems symmetrically by opening with a prologue-poem sounding the right key, and rounding the theme with an epilogue, did not tend to prove it intentional. It is an open secret that the last poem in "Men and Women," for instance, is an epilogue of autobiographical interest, gathering up the foregoing strains of his lyre, for a few last chords, in so intimate a way that the actual fall of the fingers may be felt, the pausing smile seen, as the performer turns towards the one who inspired "One Word More." The appropriateness of?"Transcendentalism" as a prologue need be no more of a secret than that of "One Word More" as an epilogue, although it is left to betray itself. Other poets writing on the poet, Emerson for example, and Tennyson, place the outright plain name of their thought at the head of their verses, without any attempt to make their titles dress their parts and keep as thoroughly true to their roles as the poems themselves. But a complete impersonation of his thought in name and style as well as matter is characteristic of Browning, and his personified poets playing their parts together in "Transcendentalism" combine to exhibit a little masque exemplifying their writer's view of the Poet as veritably as if he had named it specifically "The Poet." One poet shows the other, and brings him visibly forward; but even in such a morsel of dramatic workmanship as this, fifty-one lines all told, there is the complexity and involution of life itself, and, as ever in Browning's monologues, over the shoulder of the poet more obviously portrayed peers as livingly the face of the poet portraying him. And this one--the admonishing poet--is set there with his "sudden rose," as if to indicate with that symbol of poetic magic what kind of spell was sought to be exercised by their maker to conjure up in his house of song the figures that people its niches. Could a poem be imagined more cunningly devised to