Browning, Robert, 1812-1889 -- Characters -- Women
[24:1] Asolo, in the Trevisan, is a very picturesque mediaeval fortified
town, the ancient Acelum. It lies at the foot of a hill which is
surrounded by the ruins of an old castle; before it stretches the great
plain of the rivers Brenta and Piave, where Treviso, Vicenza, and Padua
may be clearly recognised. The Alps encircle it, and in the distance
rise the Euganean Hills. Venice can be discerned on the extreme eastern
horizon, which ends in the blue line of the Adriatic. The village of
Asolo is surrounded by a wall with mediaeval turrets.--BERDOE, _Browning
Cyclopaedia_, p. 50.
[26:1] Another line that I should like to omit, for the following words,
wholly in character, say all that the ugly ones have boomed at us so
incredibly. But here the rhyme-scheme provides a sort of unpardonable
excuse.
[49:1] Dr. Berdoe and Mrs. Orr.
[52:1] All the talk between the students is in prose.
[52:2] The long shoaly island in the Lagoon, immediately opposite
Venice.
[64:1] This song refers to Catherine of Cornaro, the last Queen of
Cyprus, who came to her castle at Asolo when forced to resign her
kingdom to the Venetians in 1489. "She lived for her people's welfare,
and won their love by her goodness and grace."
[68:1] "The name means _Blue-Fox_, and is a skit on the _Edinburgh
Review_, which is bound in blue and fox" (Dr. Furnivall).
[77:1] The dialogue between Monsignor and the steward is in prose.
[77:2] Having made her Monsignor's niece, observes Mr. Chesterton,
"Browning might just as well have made Sebald her long-lost brother, and
Luigi a husband to whom she was secretly married."
III
MILDRED TRESHAM
IN "A BLOT IN THE 'SCUTCHEON"
I have said that, to my perception, the most characteristic mark in
Browning's portrayal of women is his admiration for dauntlessness and
individuality; and this makes explicable to me the failure which I
constantly perceive in his dramatic presentment of her whose "innocence"
(as the term is conventionally accepted) is her salient quality. The
type, immortal and essential, is one which a poet must needs essay to
show; and Browning, when he showed it through others, or in his own
person hymned it, found words for its delineation which lift the soul as
it were to morning skies. But when words are further called upon for its
_expression_, when such a woman, in short, has to speak for herself, he
rarely makes her do so without a certain consciousness of that especial
trait in her--and hence her speech must of necessity ring false, for
innocence knows nothing of itself.
Public-domain text, read in full here on John Shaqi.
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