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terwards became a partner in the loveliest marriage of which we have record in literary history, that, even were there nothing to substantiate the fact, it were fair to infer that Mertoun's song to Mildred was the electric touch which compelled to its metric shape one of Mrs. Browning's best-known poems. The further interest lies in the lordly acknowledgment of the dedication to him of "Luria," which Landor sent to Browning--lines pregnant with the stateliest music of his old age:-- "Shakespeare is not our poet but the world's, Therefore on him no speech! and brief for thee, Browning! Since Chaucer was alive and hale No man has walked along our roads with step So active, so enquiring eye, or tongue So varied in discourse. But warmer climes Give brighter plumage, stronger wing: the breeze Of Alpine heights thou playest with, borne on Beyond Sorrento and Amalfi, where The Siren waits thee, singing song for song." CHAPTER V. In my allusion to "Pippa Passes," towards the close of the preceding chapter, as the most imperishable because the most nearly immaculate of Browning's dramatic poems, I would not have it understood that its pre-eminence is considered from the standpoint of technical achievement, of art, merely. It seems to me, like all simple and beautiful things, profound enough for the searching plummet of the most curious explorer of the depths of life. It can be read, re-read, learned by heart, and the more it is known the wider and more alluring are the avenues of imaginative thought which it discloses. It has, more than any other long composition by its author, that quality of symmetry, that _symmetria prisca_ recorded of Leonardo da Vinci in the Latin epitaph of Platino Piatto; and, as might be expected, its mental basis, what Rossetti called fundamental brain-work, is as luminous, depth within depth, as the morning air. By its side, the more obviously "profound" poems, Bishop Blougram and the rest, are mere skilled dialectics. The art that is most profound and most touching must ever be the simplest. Whenever AEschylus, Dante, Shakspere, Milton, are at white heat they require no exposition, but meditation only--the meditation akin to the sentiment of little children who listen, intent upon every syllable, and passionately eager of soul, to hearth-side tragedies. The play of genius is like the movement of the sea. It has its solemn r
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