The Letters of Elizabeth Barrett Browning (Volume 2 of 2)

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[Transcriber's Notes: The letter "o" with a macron is indicated as [=o]
in this text. The oe ligature has been replaced with the letters "oe".
The original text had the word "Madame" written two ways: "Mad" followed
by superscripted "me" and "Ma" followed by superscripted "dme". All have
been rendered as Madme.]

[Illustration: _Robert Browning._
Rome 1854.
_From an Oil Painting by W. Fisher._]




THE LETTERS
OF
ELIZABETH BARRETT BROWNING

EDITED WITH BIOGRAPHICAL ADDITIONS

BY
FREDERIC G. KENYON

_WITH PORTRAITS_

IN TWO VOLUMES

VOLUME II.

_THIRD EDITION_

LONDON

SMITH, ELDER, & CO., 15 WATERLOO PLACE
1898




CONTENTS
OF
THE SECOND VOLUME

       *       *       *       *       *


CHAPTER VII

1851-1852

'Casa Guidi Windows'--Venice--Milan--Paris--London--Winter in Paris--The
Coup d'Etat--Louis Napoleon--Miss Mitford's 'Recollections'--George
Sand--Miss Mulock--Summer in England, 1


CHAPTER VIII

1852-1855

Return to Florence--Spiritualism--Robert Lytton--Bagni di
Lucca--Florence--Rome--Florence--The Crimean War--Death of Miss
Mitford, 91


CHAPTER IX

1855-1859

Visit to England--Tennyson's 'Maud'--Winter in Paris--Mr. Ruskin--Last
Visit to England--'Aurora Leigh'--Death of Mr. Kenyon--Return to
Florence--Carnival--Death of Mr. Barrett--Bagni di Lucca--Illness of
Lytton--Paris--Havre--Paris--Florence--Rome, 205


CHAPTER X

1859-1860

The Franco-Austrian War--Napoleon and
Italy--Villafranca--Florence--Siena--Italian Politics and
England--Landor--Florence--Rome, 305


CHAPTER XI

1860-1861

'Poems before Congress'--Napoleon and Savoy--France, Italy, and
England--Florence--Death of Mrs. Surtees Cook--Garibaldi--Rome--The
'Cornhill Magazine' and Thackeray--Increasing Weakness--Death of Mrs.
Browning, 363


INDEX, 455

PORTRAIT OF ROBERT BROWNING, ROME 1854, _Frontispiece_

FACSIMILE OF LETTER TO THE EMPEROR NAPOLEON, _to face p. 262_




THE LETTERS

OF

ELIZABETH BARRETT BROWNING

       *       *       *       *       *




CHAPTER VII

1851-1852


Since they first settled in Florence the Brownings had made no long or
distant expeditions from their new home. Their summer excursions to
Vallombrosa, Lucca, or Siena had been of the nature of short holidays,
and had not taken them beyond the limits of Tuscany. Now they had
planned a far wider series of travels, which, beginning with Rome,
Naples, Venice, and Milan, should then be extended across the Alps, and
comprehend Brussels, Paris, and ultimately London. This ambitious
programme had to be curtailed by the omission of the southern tour to
Rome and Naples, as well as the digression to Brussels, but the rest of
the scheme was carried out, and about the beginning of June they left
Casa Guidi for an absence which extended over seventeen months.

The holiday had been well earned, especially by Mrs. Browning, who,
since the preparation of the new edition of her poems in the previous
year, had been writing the second part of 'Casa Guidi Windows.' It is
probably to this poem that she refers in the letter to Miss Browning
printed at the end of the last chapter, Miss Browning having on more
than one occasion helped both her brother and her sister-in-law in the
task of passing their poems through the press. The book appeared in
June, just as they were starting on their travels, and probably for this
reason we hear less in the letters of its reception. It was hardly to be
expected that the English public would take a very keen interest in a
poem dealing almost entirely with Italian politics, and half of it with
the politics of three years ago. Either in 1849 or in 1859 the interest
would have been livelier; but Italy was passing now through the valley
of the shadow, and, save for the horrors of the Neapolitan prisons, was
not much before the public for the moment. The intrigues of Louis
Napoleon and the ostentatious aggression of the Pope in England were the
matters of most interest in foreign politics, and both were overshadowed
by the absorbing topic of the Great Exhibition.

Another reason why 'Casa Guidi Windows' has received less appreciation
than it deserves, both at the time of its publication and since, is that
it stands rather apart from all the recognised species of poetry, and is
hard to classify and criticise. Its political and contemporary character
cut it off from the imaginative and historical subjects which form in
general the matter of poetry, while its genuinely poetic emotion and
language separate it from the political pamphlet or the occasional
verse. It is a poetic treatment of a political subject raised to a high
level by the genuine enthusiasm and fire with which it is inspired, and
these give it a value which lasts far beyond the moment of the events
which gave it birth.