Robert Browning And the English Pre Raphaelites

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What surprises more in the strenuous Browning than any such reconstruction, is the presence in certain of his lyrics in Paracelsus and in Pippa Passes, of a more remote, ethereal, unconditioned romanticism — a conjuring- up of sensuous nowheres, existent only in the yearnings of persons tired, depressed, or at odds with uncongenial surroundings — that is also precursive of Morris. For instance, where Paracelsus commits his old plans, as being mere beautiful dreams, to the flames. Browning sings...: such balsam falls Down sea-side mountain pedestals, From tree-tops where tired winds are fain, Spent with the vast and howling main, To treasure half their island-gain.
Morris has a place where fair streams are drawn from the purple hills afar, Drawn down unto the restless sea; The hills whose flower ne'er fed a bee, The shore no ship has ever seen, Still beaten by the billows green — the place for which, both day and night, the singer cries, in the lyric inserted in Jason.
The delightful sea-wandering in Paracelsus, placed at no definite period of time, to unknown islands of the sea, is a perfect example of the sensuous method of Keats, applied to a subject such as Morris afterwards chose.


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