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Updated: May 16, 2025
Pippa Passes, aside from its rare poetical qualities, is a study of unconscious influence. The idea of the poem was suggested to Browning while listening to a gypsy girl singing in the woods near his home; but he transfers the scene of the action to the little mountain town of Asolo, in Italy. Pippa is a little silk weaver, who goes out in the morning to enjoy her one holiday of the whole year.
On the other hand, in his management of metres like that of 'Love Among the Ruins, for instance, he shows a different side; the pure lyrics in 'Pippa Passes' and elsewhere sing themselves; and there are memorable cadences in some of the more meditative poems, like 'By the Fireside.
It is too often forgotten what and how excellent these were. Pippa Passes, to take another example, is a new and most fruitful form, a series of detached dramas connected only by the presence of one fugitive and isolated figure. The invention of these things is not merely like the writing of a good poem it is something like the invention of the sonnet or the Gothic arch.
The whole central and splendid idea of the drama is the fact that Pippa is utterly remote from the grand folk whose lives she troubles and transforms. To make her in the end turn out to be the niece of one of them, is like a whiff from an Adelphi melodrama, an excellent thing in its place, but destructive of the entire conception of Pippa.
Only by slow degrees, he grappled the conviction that the victim of the shock was Robert Browning; and, on the background of the Circus Maximus, the Christian martyrs flaming as torches, and the morning's murderer on the block, Browning seemed rather in place, as a middle-aged gentlemanly English Pippa Passes; while afterwards, in the light of Belgravia dinner-tables, he never made part of his background except by effacement.
I was attacked by one of those fierce impulses that forbade me to rest or think or sleep, and, as usual, I hurried out for one of those long aimless excursions I had latterly grown accustomed to. At the open street-door stood the proprietress of the house, a stout, good-natured contadina, with her youngest child Pippa holding to her skirt.
It seemed to be about love and a bel amoureux, her handsome sweetheart; and I wished I could have taken up the strain and answered her, as I went on upon my invisible woodland way, weaving, like Pippa in the poem, my own thoughts with hers. What could I have told her? Little enough; and yet all the heart requires.
It seemed to be about love and a bel amoureux, her handsome sweetheart; and I wished I could have taken up the strain and answered her, as I went on upon my invisible woodland way, weaving, like Pippa in the poem, my own thoughts with hers. What could I have told her? Little enough; and yet all the heart requires.
Pippa Passes is singular in its construction; scenes detached, though not wholly disconnected, are strung pendant-wise upon the gold thread, slender but sufficiently strong, of an idea; realism in art, as we now call it, hangs from a fine idealism; this substantial globe of earth with its griefs, its grossnesses, its heroism, swings suspended from the seat of God.
The intervention of Pippa is dramatic, and though her song is in the same key as the wordless message of Wordsworth's beggar she is a world apart from him, because she is something not out of natural history, but out of life. The Victorian age extended the imaginative sensibility which its predecessor had brought to bear on nature and history, to the complexities of human life.
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