The themes of Brownings poetry are the very greatest that can engage the thought of man. He ranges over a vast variety of topic; but, wherever his thought may lead him, he never loses sight of that which is to him the centre of all, the human soul, with its infinite wants and capabilities. In the preface to Sordello he says: The historical decoration was purposely of no more importance than a background requires; and my stress lay on the incidents in the development of a soul: little else is worth study. I, at least, always thought so. To this principle he has kept true through all his work; and hence it is that, whether the particular subject be love, or home, or country; poetry, painting, or music; life, death, or immortality; it is dealt with in its relation to the development of a soul. Hence it is that his poetry is so thoroughly and profoundly spiritual, and so exceedingly valuable as a counteractive to the materialism of the age, which ever tends to merge the soul in the body, and swallow up the real in mere phenomena.
As might be expected of one who deals so profoundly with all that he touches, the great reality of the universe to him is God. Agnosticism has little mercy at his hands; if a man knows anything at all, he knows God. And the God whom he knows is not a God apart, looking down from some infinite or indefinite height upon the world, but one in whom all live and move and have their being. Out of this springs, of course, the hope of immortality, and also that bright and cheerful view of life so completely opposed to the dark pessimism to which much of the unbelieving speculation of the present day so painfully tends. The dark things of human life and destiny are by no means ignored; rather are they dwelt on with a painful and sometimes frightful realism; but even amid deepest darkness the light above is never quite extinguished, and some little Pippa passes singing:
The years at the spring
And days at the morn;
Mornings at seven;
The hill-sides dew-pearled;
The larks on the wing;
The snails on the thorn:
Gods in his heaven
Alls right with the world.
There has been much discussion as to Brownings personal attitude to Christianity. The profoundly Christian tone of his writings is, of course, universally acknowledged; but attempts are sometimes made to evade the force of those numerous passages in which he speaks of the Incarnation, and Death, and Resurrection of the Lord Jesus, in a way which seems to imply his hearty acceptance of the substance of what is known as evangelical truth. Much has been made in this connection of the way in which, in one of his prefaces, he characterises his work as poetry always dramatic in principle, and so many utterances of so many imaginary persons, not mine; and it has been asserted that it is as unwarrantable to consider him to be speaking his own sentiments in a poem like Christmas Eve, as in one like Johannes Agricola, or Bishop Blougrams Apology. The obvious answer is that this profound sympathy with the Christ of God and His salvation is not found in some solitary production, but appears and reappears, often when least expected, all through his works. In that remarkable little poem, entitled House, in which more strongly than anywhere else he claims personal privacy, while he declines to be regarded as having furnished his publishers with tickets to view his own souls dwelling, he admits that whoso desires to penetrate deeper may do so by the spirit sense; and accordingly some of his admirers, who dissent from him most strongly on this point, are the most ready to acknowledge that his Christian faith is no stage suit, but the very garment of his soul. As illustration of this we may refer to the admirable essay by the late James Thomson, published in Part II. of the Browning Societys Papers, in which, after expressing his amazement that a great mind like Brownings could be Christian, he asserts the, to him, remarkable but quite undeniable fact in these words: The devout and hopeful Christian faith, explicitly or implicitly affirmed in such poems as Saul, Kharshish, Cleon, Caliban upon Setebos, A Death in the Desert, Instans Tyrannus, Rabbi Ben Ezra, Prospice, the Epilogue, and throughout that stupendous monumental work, The Ring and the Book, must surely be as clear as noonday to even the most purblind vision.
That a great Christian poet, in an age when so many of the intellectual magnates of the time are hostile or simply silent, should remain unknown or little known to any large proportion of Christian readers, is certainly very much to be regretted. Surely the admiration which is freely and generously accorded to his work by many who are constrained to it in spite of his faith in a Christ whom they reject, is a rebuke to the indifference of those who, sharing his faith, do not give themselves the trouble to inquire what he has to say about it. There are not so many avowed and outspoken Christians in the highest walks of literature that we can afford to pay only slight attention to the utterances of one who has the ear of the deepest thinkers in every school of thought all the world over.
The immediate object of this selection is to supply an introduction to the study of Browning for the benefit of the readers of the Chautauqua Literary and Scientific Circle; but it is hoped that many others, inspired with similar aims, and who have not had such advantages that they can dispense with all assistance in the study of a difficult author, may find help from this little book. It is, of course, better to read for ones self than to follow the guidance of another; and yet it may be necessary to open a path far enough to lead within sight of the treasures in store. This is all that has been attempted here only the indication of a few veins near the surface of a rich mine, which the reader is strongly recommended to explore for himself.
The selection has been arranged on the principle of beginning with that which is simple, and proceeding gradually to the more complex, with some regard also to variety and progress in subjects, and at the same time to appropriateness for the use of those younger readers for whom this selection mainly is intended.
The notes are meant to serve only as a guide to beginners; and as guides are proverbially an annoyance when their services are imposed unsought, these are disposed at the end of each poem, and without reference marks to mar the pages, so that the selection may be read, if desired, without any interference from the notes.
Within the limits of a volume like this, only the shorter poems could find a place. Most valuable extracts from the longer works might have been given; but this is always a questionable method of dealing with the best writers, with those especially whose thought is strictly consecutive, while the effect of particular passages depends to a large extent on their setting and their relation to the work as a whole. The only1 exception to this is the treatment of Christmas Eve and Easter Day, with extracts from which this volume closes. That remarkable work occupies a middle position between the shorter and the longer poems of our author; and, though too long for insertion entire, is yet so important, that it seemed very desirable to give some idea of it. In furnishing a series of extracts from this work, an attempt has been made to reduce the disadvantage above referred to by supplying along with them a slight sketch or argument, so as to give some idea, to those unacquainted with it, of the course of thought throughout.