life of robert browning(罗伯特·布朗宁传)-第16部分
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same lines； or doubled upon himself in intricate revolutions； but already
his line of life； his poetic parallel； was definitely established。
In the consideration of Browning's dramas it is needful to be sure of
one's vantage for judgment。 The first step towards this assurance is the
ablation of the chronic Shakespearian comparison。 Primarily； the shaping
spirit of the time wrought Shakespeare and Browning to radically
divergent methods of expression； but each to a method in profound
harmony with the dominant sentiment of the age in which he lived。 Above
all others； the Elizabethan era was rich in romantic adventure； of the mind
as well as of the body； and above all others； save that of the Renaissance in
Italy； animated by a passionate curiosity。 So； too； supremely； the Victorian
era has been prolific of novel and vast Titanic struggles of the human spirit
to reach those Gates of Truth whose lowest steps are the scarce discernible
stars and furthest suns we scan； by piling Ossas of searching speculation
upon Pelions of hardly…won positive knowledge。 The highest exemplar of
the former is Shakespeare； Browning the profoundest interpreter of the
latter。 To achieve supremacy the one had to create a throbbing actuality； a
world of keenest living； of acts and intervolved situations and episodes：
the other to fashion a mentality so passionately alive that its manifold
phases should have all the reality of concrete individualities。 The one
reveals individual life to us by the play of circumstance； the interaction of
events； the correlative eduction of personal characteristics： the other by his
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apprehension of that quintessential movement or mood or phase wherein
the soul is transitorily visible on its lonely pinnacle of light。 The elder poet
reveals life to us by the sheer vividness of his own vision： the younger； by
a newer； a less picturesque but more scientific abduction； compels the
complex rayings of each soul…star to a singular simplicity； as by the
spectrum analysis。 The one； again； fulfils his aim by a broad synthesis
based upon the vivid observance and selection of vital details： the other by
an extraordinary acute psychic analysis。 In a word； Shakespeare works as
with the clay of human action： Browning as with the clay of human
thought。
As for the difference in value of the two methods it is useless to
dogmatise。 The psychic portraiture produced by either is valuable only so
far as it is convincingly true。
The profoundest insight cannot reach deeper than its own possibilities
of depth。 The physiognomy of the soul is never visible in its entirety；
barely ever even its profile。 The utmost we can expect to reproduce；
perhaps even to perceive in the most quintessential moment； is a partially
faithful； partially deceptive silhouette。 As no human being has ever seen
his or her own soul； in all its rounded completeness of good and evil； of
strength and weakness； of what is temporal and perishable and what is
germinal and essential； how can we expect even the subtlest analyst to
adequately depict other souls than his own。 It is Browning's high
distinction that he has this soul…depictive faculty restricted as even in his
instance it perforce is to an extent unsurpassed by any other poet；
ancient or modern。 As a sympathetic critic has remarked； 〃His stage is not
the visible phenomenal England （or elsewhere） of history； it is a point in
the spiritual universe； where naked souls meet and wrestle； as they play
the great game of life； for counters； the true value of which can only be
realised in the bullion of a higher life than this。〃 No doubt there is 〃a
certain crudeness in the manner in which these naked souls are presented；〃
not only in 〃Strafford〃 but elsewhere in the plays。 Browning markedly has
the defects of his qualities。
As part of his method； it should be noted that his real trust is upon
monologue rather than upon dialogue。 To one who works from within
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outward in contradistinction to the Shakespearian method of striving to
win from outward forms 〃the passion and the life whose fountains are
within〃 the propriety of this dramatic means can scarce be gainsaid。 The
swift complicated mental machinery can thus be exhibited infinitely more
coherently and comprehensibly than by the most electric succinct dialogue。
Again and again Browning has nigh foundered in the morass of
monologue； but； broadly speaking； he transcends in this dramatic method。
At the same time； none must take it for granted that the author of 〃A
Blot in the 'Scutcheon〃； 〃Luria〃； 〃In a Balcony〃； is not dramatic in even
the most conventional sense。 Above all； indeed as Mr。 Walter Pater has
said his is the poetry of situations。 In each of the ‘dramatis personae'；
one of the leading characteristics is loyalty to a dominant ideal。 In
Strafford's case it is that of unswerving devotion to the King： in Mildred's
and in Thorold's； in 〃A Blot in the 'Scutcheon〃； it is that of subservience
respectively to conventional morality and family pride （Lord Tresham； it
may be added； is the most hopelessly monomaniacal of all Browning's
〃monomaniacs〃）： in Valence's； in 〃Colombe's Birthday〃； to chivalric love：
in Charles； in 〃King Victor and King Charles〃； to kingly and filial duty： in
Anael's and Djabal's； in 〃The Return of the Druses〃； respectively to
religion and unscrupulous ambition modified by patriotism： in Chiappino's；
in 〃A Soul's Tragedy〃； to purely sordid ambition： in Luria's； to noble
steadfastness： and in Constance's； in 〃In a Balcony〃； to self…denial。 Of
these plays； 〃The Return of the Druses〃 seems to me the most picturesque；
〃Luria〃 the most noble and dignified； and 〃In a Balcony〃 the most
potentially a great dramatic success。 The last is in a sense a fragment； but；
though the integer of a great unaccomplished drama； is as complete in
itself as the Funeral March in Beethoven's ‘Eroica' Symphony。 〃A Blot in
the 'Scutcheon〃 has the radical fault characteristic of writers of sensational
fiction； a too promiscuous 〃clearing the ground〃 by syncope and suicide。
Another is the juvenility of Mildred： a serious infraction of dramatic law；
where the mere tampering with history； as in the circumstances of King
Victor's death in the earlier play； is at least excusable by high precedent。
More disastrous； poetically； is the ruinous banality of Mildred's anticlimax
when； after her brother reveals himself as her lover's murderer； she； like
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the typical young ‘Miss Anglaise' of certain French novelists； betrays her
incapacity for true passion by exclaiming； in effect； 〃What； you've
murdered my lover！ Well； tell me all。 Pardon？ Oh； well； I pardon you： at
least I THINK I do。 Thorold； my dear brother； how very wretched you
must be！〃
I am unaware if this anticlimax has been pointed out by any one； but
surely it is one of the most appalling lapses of genius which could be
indicated。 Even the beautiful song in the third scene of the first act；
〃There's a woman like a dew…drop； she's so purer than the purest；〃 is； in
the circumstances； nearly over the verge which divides the sublime from
the ridiculous。 No wonder that； on the night the play was first acted；
Mertoun's song； as he clambered to his mistress's window； caused a
sceptical laugh to ripple lightly among the tolerant auditory。 It is with
diffidence I take so radically distinct a standpoint from that of Dickens；
who declared he knew no love like that of Mildred and Mertoun； no
passion like it； no moulding of a splendid thing after its conception； like it；
who； further； at a later date； affirmed that he would rather have written this
play than any work of modern times： nor with less reluctance； that I find
myself at variance with Mr。 Skelton； who speaks of the drama as 〃one of
the most perfectly conceived and perfectly executed tragedies in the
language。〃 In the instance of Luria； that second Othello； suicide has all the
impressiveness of a plenary act of absolution： the death of Anael seems as
inevitable as the flash of lightning after the concussion of thunder…clouds。
But Thorold's suicide is mere weakness； scarce a perverted courage； and
Mildred's broken heart was an ill not beyond the healing of a morally
robust physician。 〃Colombe's Birthday〃 has a certain remoteness of
interest； really due to the reader's more or less acute perception of the
radical diver
