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Most solicitously did our good old host present Eustace to every one, and it was curious to watch the demeanour of the different classes the Horsmans mostly cordial, Hippa and Pippa demonstratively so; but the Stympsons held aloof with the stiffest of bows, not one of them but good-natured Captain George Stympson would shake hands even with me, and Miss Avice Stympson, of Lake House, made as if Harold were an object invisible to the naked eye, while the kind old earl was doing his best that he should not feel neglected.
Browning's "Pippa Passes" is a parable or allegory of human life. Though called a drama by its author, it embodies, like all plays of the highest type, other than dramatic elements. In exalted poetry the allegoric, lyric, epic and dramatic seem to be blended. An effort to separate them often seems academic and mechanical.
And he had not the least intention of leaving San Francisco. For the time being they were safe. It was like picking wild flowers in the field after a day's hot work. "Now," she said serenely, "read me 'Pippa Passes." Nevertheless, he stayed away from her for a week. At the end of that time he received a peremptory little note bidding him call and expound Newman's "Apologia" to her.
Let this fact be seized with imaginative intensity, and let the imagination render it into a symbol we catch sight of Pippa with her songs passing down the grass-paths and under the pine-wood of Asolo. Her only service to God on this one holiday of a toilsome year is to be glad.
Fate wills it that the words and music of her little songs should come to the ears of four different groups of people at the moment when they are facing the greatest crises of their lives, and turn the scale from evil to good. But Pippa knows nothing of this. She enjoys her holiday, and goes to bed still singing, entirely ignorant of the good she has done in the world.
The test again of Luigi, in the third part of Pippa Passes, is that of one who sees all the oppression of his people, who is enamoured of the antique ideal of liberty, and whose choice lies between a youth of luxurious ease and the virtue of one heroic crime, to be followed by the scaffold-steps, with youth cut short.
What, do you ask, has such a poetic drama to do with such a commonplace subject as health or the prolonging of life? The question implies a misconception. Human development is not a material thing but is poetic and exalted. It has to do not merely with physical conditions but primarily with spiritual ideals. Let us observe more closely how Browning wakes Pippa up.
The poor, innocent being, in whom his kindness and tenderness have stirred to life for the first time her womanly nature, is about to be cast out to a life of degradation and misery, when Pippa passes, singing. Her song awakens Jules to a higher feeling, to a more human and heroic determination; and the painters, waiting outside, are disappointed.
If we accept "Pippa Passes" as a parable of human life and Pippa as a typical human being, may we not in her awakening find an example of this universal instinct? May we not find her first thoughts and feelings worthy of study and her example one to be followed? Do we not, in fact, find here a beautiful illustration of the proper mode of meeting the sacredness of dawn?
The idea which gives unity to the whole is not a mere fantasy. The magic practised by the unconscious Pippa through her songs is of that genuine and beautiful kind which the Renaissance men of science named "Magia Naturalis." It is no fantasy but a fact that each of us influences the lives of others more or less every day, and at times in a peculiar degree, in ways of which we are not aware.
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