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Updated: May 9, 2025
Not that he ever became consummately literary in the way his two teachers were. Beyond "Fra Lippo Lippi" and "Caliban and Setebos," he found nothing in Browning, while George Meredith was ever his despair. It was of his own initiative, however, that he invested in a violin, and practised so assiduously that in time he and Dede beguiled many a happy hour playing together after night had fallen.
"As one is afraid of a snake, or a tiger, or a shark?" "Now you know me," he said. "And you know me as I am generally known. Other men call me 'Wolf." "You are a sort of monster," I added audaciously, "a Caliban who has pondered Setebos, and who acts as you act, in idle moments, by whim and fancy." His brow clouded at the allusion.
The Soliloquy of a Spanish Cloister describes the development of a coarse, jealous nature in monastic life. The Last Ride Together is one of Browning's many passionate poems on the ennobling power of love. That remarkable, grotesque poem, Caliban upon Setebos, transcends human fields altogether, and displays the brutelike theology of a fiend.
Abel's task must have been quite as heavy as Cain's. Our opinion is that the Lord showed his usual caprice, hating whom he would and loving whom he would. Jehovah acted like the savage hero of Mr. Browning's "Caliban on Setebos," who sprawls on the shore watching a line of crabs make for the sea, and squashes the twentieth for mere variety and sport.
Can any one read Browning's great monologues and not feel that they are built up like a good short story, entirely on this principle of the value of language arising from its arrangement. Take such an example as "Caliban upon Setebos," a wonderful poem designed to describe the way in which a primitive nature may at once be afraid of its gods and yet familiar with them.
They then fell a bellowing like bulls, and imploring the aid of Setebos in this extremity, whom they must therefore have conceived some good and compassionate being, as it is not to be conceived they would crave relief from an evil spirit.
Emerson's passion for nature was not like the passion of Keats or of Burns, of Coleridge or of Robert Browning; compared with these men he is cold. His temperature is below blood-heat, and his volume of poems stands on the shelf of English poets like the icy fish which in Caliban upon Setebos is described as finding himself thrust into the warm ooze of an ocean not his own.
This idea has been caught by Robert Browning in his marvellous Caliban upon Setebos, a poem developed out of a casual germ in Shakespeare's Tempest. Hoping the while, since evils sometimes mend, Warts rub away and sores are cured with slime, That some strange day, will either the Quiet catch And conquer Setebos, or likelier He Decrepit may doze, doze, as good as die.
It is easy to understand if one will only put it into ordinary language. This person Setebos was under the impression that his life was spent in the moonlight. 'But what nonsense it is! cried Mrs. Beecher. Mrs. Hunt Mortimer looked at her reproachfully. 'It is very easy to call everything which we do not understand "nonsense," said she.
He is aware that in his recognition of righteousness he is himself superior to the evil god who afflicts him; and as this righteousness is a moral quality, and no creation of his own consciousness but rather imposed upon it as an eternal law, he rises past Zeus to the Potency above him, after which even the undeveloped sense of a Caliban blindly felt when he discovered a Quiet above the bitter god Setebos; but the Quiet of Caliban is a negation of those evil attributes of the supreme Being, which he reflects upwards from his own gross heart, not the energy of righteousness which Ixion demands in his transcendent "Potency."
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