She lives indeed, and not alone in the heart of Shakespeare’s England, but in the heart of Dante’s Italy also.  To Greek literature she owed her scholarly culture, but modern Italy created her human passion for Liberty.  When she crossed the Alps she became filled with a new ardour, and from that fine, eloquent mouth, that we can still see in her portraits, broke forth such a noble and majestic outburst of lyrical song as had not been heard from woman’s lips for more than two thousand years.  It is pleasant to think that an English poetess was to a certain extent a real factor in bringing about that unity of Italy that was Dante’s dream, and if Florence drove her great singer into exile, she at least welcomed within her walls the later singer that England had sent to her.

If one were asked the chief qualities of Mrs. Browning’s work, one would say, as Mr. Swinburne said of Byron’s, its sincerity and its strength.  Faults it, of course, possesses.  ‘She would rhyme moon to table,’ used to be said of her in jest; and certainly no more monstrous rhymes are to be found in all literature than some of those we come across in Mrs. Browning’s poems.  But her ruggedness was never the result of carelessness.  It was deliberate, as her letters to Mr. Horne show very clearly.  She refused to sandpaper her muse.  She disliked facile smoothness and artificial polish.  In her very rejection of art she was an artist.  She intended to produce a certain effect by certain means, and she succeeded; and her indifference to complete assonance in rhyme often gives a splendid richness to her verse, and brings into it a pleasurable element of surprise.

In philosophy she was a Platonist, in politics an Opportunist.  She attached herself to no particular party.  She loved the people when they were king-like, and kings when they showed themselves to be men.  Of the real value and motive of poetry she had a most exalted idea.  ‘Poetry,’ she says, in the preface of one of her volumes, ’has been as serious a thing to me as life itself; and life has been a very serious thing.  There has been no playing at skittles for me in either.  I never mistook pleasure for the final cause of poetry, nor leisure for the hour of the poet.  I have done my work so far, not as mere hand and head work apart from the personal being, but as the completest expression of that being to which I could attain.’

It certainly is her completest expression, and through it she realises her fullest perfection.  ‘The poet,’ she says elsewhere, ’is at once richer and poorer than he used to be; he wears better broadcloth, but speaks no more oracles.’  These words give us the keynote to her view of the poet’s mission.  He was to utter Divine oracles, to be at once inspired prophet and holy priest; and as such we may, I think, without exaggeration, conceive her.  She was a Sibyl delivering a message to the world, sometimes through stammering lips, and once at least with blinded eyes, yet always with the