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Updated: May 29, 2025
Two possessions, out of what life has brought, remain with her the babe, who while yet unborn had converted her from a sufferer to a defender, and the friend who has saved her soul. Even motherhood itself is not the deepest thing in Pompilia's nature.
She can never lose him, and yet lose him she surely must; all she can do is by dying to give him "out-right to God, without a further care," so to be safe. But one experience of Pompilia's life was quite out of time, and belongs by its mere essence to eternity.
The ingenuously unbounded maternal pride, the almost luscious maternal sentiment, of Pompilia's dying moments can only associate themselves in our mind with Mrs.
There are certain books of it "Caponsacchi's story," "Pompilia's story," and "Count Guido's story" that I think ought to rank with the greatest poetry ever written, and that have a direct, dramatic expression of the fact and character, which is without rival.
I cannot pass the Consolazione Hospital without thinking of Pompilia's death there; and the imaginary bishop, of whom there is no visible trace, haunts Sta. Prassede.
There are certain books of it "Caponsacchi's story," "Pompilia's story," and "Count Guido's story" that I think ought to rank with the greatest poetry ever written, and that have a direct, dramatic expression of the fact and character, which is without rival.
There is a noble and lofty pathos in the close of Caponsacchi's statement, an artless and manly break from his self-control throughout, that seems to me the last possible effect in its kind; and Pompilia's story holds all of womanhood in it, the purity, the passion, the tenderness, the helplessness. But if I begin to praise this or any of the things I have liked, I do not know when I should stop.
He is a strongly-drawn character, full of passion and noble desires. Pompilia, who has an intuitive knowledge of the right, is one of Browning's sweetest and purest women. From descriptions of Mrs. Browning, such as Nathaniel Hawthorne gave, we may conclude that she furnished the suggestion for many of Pompilia's characteristics.
The new Admetos, new Alkestis, imagined by Balaustion at the close of the poem, are wedded lovers who, like the married in Pompilia's dream of heaven, "know themselves into one." For them the severance of death has become an impossible thing; and therefore no place is left for Herakles in this treatment of the story.
In the third volume, the austere pathos of Pompilia's tale relieves the too oppressive jollity of Don Giacinto, and the flowery rhetoric of Bottini; while in the fourth, the deep wisdom, justice, and righteous mind of the Pope, reconcile us to endure the sulphurous whiff from the pit in the confession of Guido, now desperate, naked, and satanic.
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