Robert Browning: How to Know Him | Page 9

peculiar, one having a long focus, the other very short. He had the unusual accomplishment (try it and prove) of closing either eye without "squinching," and without any apparent effort, though sometimes on the street in strong sunshine his face would be a bit distorted. He did all his reading and writing with one eye, closing the long one as he sat down at his desk. He never wore glasses, and was proud of his microscopic eye. He often wrote minutely, to show off his powers. When he left the house to go for a walk, he shut the short eye and opened the long one, with which he could see an immense distance. He never suffered with any pain in his eyes except once, when a boy, he was trying to be a vegetarian in imitation of his youthful idol, Shelley.
Contrary to the oft-repeated statement, Browning was not a really fine pianist. As a very young man, he used to play several?instruments, and once he had been able to play all of Beethoven's sonatas on the piano. In later life he became ambitious to improve his skill with this instrument, and had much trouble, for his fingers were clumsy and stiff. He therefore used to rise at six, and practise finger-exercises for an hour!
He loved first-class music ardently, had a profound knowledge of it, and was a good judge. If the performance was fine, he would express his praise with the utmost enthusiasm; but bad work caused him acute pain. Sometimes at a concert he would put his fingers in his ears, his suffering being apparently uncontrollable.
The salient feature of his character was his boyish vivacity and enthusiasm. If he looked out of the window and saw a friend coming along the street to call, he would often rush out and embrace him. In conversation he was extraordinarily eager and impulsive, with a great flow of talk on an enormous range of subjects. If he liked anything, he spoke of it in the heartiest manner, laughing aloud with delight. He was very generous in his appreciation and praise of other men's work, being beautifully free from that jealousy which is one of the besetting sins of artists. He always tried to see what was good. Occasionally he was enraged at reading a particularly hostile criticism of himself, but on the whole he stood abuse very well, and had abundant opportunity to exercise the gift of patience. A great admirer of Tennyson's poetry and of Tennyson's character--they were dear and intimate friends--he never liked the stock comparison. "Tennyson and I are totally unlike," he used to say. No letter from one rival to another was ever more beautiful than the letter Browning wrote to Tennyson on the occasion of the Laureate's eightieth birthday:
"My DEAR TENNYSON--To-morrow is your birthday--indeed, a memorable one. Let me say I associate myself with the universal pride of our country in your glory, and in its hope that for many and many a year we may have your very self among us--secure that your poetry will be a wonder and delight to all those appointed to come after. And for my own part, let me further say, I have loved you dearly. May God bless you and yours.
"At no moment from first to last of my acquaintance with your works, or friendship with yourself, have I had any other feeling, expressed or kept silent, than this which an opportunity allows me to utter--that I am and ever shall be, my dear Tennyson, admiringly and affectionately yours,
"ROBERT BROWNING."
What I have said of Browning's impulsiveness is borne out not only by the universal testimony of those who knew him well, but?particularly by a letter of Mrs. Browning to Mrs. Jameson. The manuscript of this letter was bought in London by an American, and went down with the _Titanic_ in 1912. An extract from it appeared in a bookseller's catalogue--"You must learn Robert--he is made of moods--chequered like a chess-board; and the colour goes for too much--till you learn to treat it as a game."
No man--little or great--was ever more free from pose. His appearance, in clothes and in hair, was studiously normal. No one in his later years would ever have guessed that he was a poet, either in seeing him on the street, or in meeting him at dinner. He was interested in multitudinous things, but never spoke of poetry--either in general or in his own particular--if he could avoid doing so. The fact that strangers who were presented to him and talked with him did not guess that he was _the_ Mr. Browning, gave rise to numberless humorous situations.
Perhaps the best thing that can be said of his personal character is the truthful statement that he stood in the finest manner two searching tests of manhood--long