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Browning's poet is almost too respectable, she is still not worthy to be mentioned in the same breath with the utterly innocuous poet set forth by another Victorian, Coventry Patmore. In Patmore's poem, Olympus, the bard decides to spend an evening with his own sex, but he is offended by the cigar smoke and the coarse jests, and flees home to The milk-soup men call domestic bliss.
P.G. Patmore's testimony is also corroborative: To those who did not know him, or, knowing, did not or could not appreciate him, Lamb often passed for something between an imbecile, a brute, and a buffoon; and the first impression he made on ordinary people was always unfavourable sometimes to a violent and repulsive degree. Some of his writings. In the London Magazine the essay did not end here.
The performance of "Parsifal," as I saw it at Bayreuth, seemed to me the most really satisfying performance I had ever seen in a theatre; and I have often, since then, tried to realise for myself exactly what it was that one might learn from that incarnation of the ideas, the theoretical ideas, of Wagner. The music itself has the abstract quality of Coventry Patmore's odes.
Ambrose says: "See, how He goes up with the Apostles and comes down to the crowds. For how could the crowds see Christ save in a lowly spot? They do not follow Him to the heights, nor rise to sublimities" a notion altogether congenial to Patmore's aristocratic bias in religion as in everything else.
Browning's "Aurora Leigh," Owen Meredith's "Lucile," and Coventry Patmore's "The Angel in the House," to mention works of very different quality and caliber, may be regarded more properly as novels than as poems.
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