Summary

Portrait of Max Beerbohm Max Beerbohm A Christmas Garland — A Recollection (1912)

Intense as was the impression he always made even in London, I think that those of us who met Robert Browning only in the stress and roar of that metropolis can hardly have gauged the fullness of his potentialities for impressing. Venice, "so weak, so quiet," as Mr. Ruskin had called her, was indeed the ideal setting for one to whom neither of those epithets could by any possibility have been deemed applicable. The steamboats that now wake the echoes of the canals had not yet been imported; but the vitality of the imported poet was in some measure a preparation for them.
Source: Wikisource

Portrait of Max Beerbohm Max Beerbohm A Christmas Garland — A Recollection (1912)

Ibsen seemed to be already regretting that he had unbent. I could not help thinking, as we floated along the Riva Schiavoni, that he looked like some particularly ruthless member of the Council of Ten. I did, however, try faintly to attune him in some sort to the spirit of our host and of the day of the year. I adumbrated Browning's outlook on life, translating into Norwegian, I well remember, the words "God's in His heaven, all's right with the world." In fact I cannot charge myself with not having done what I could.
Source: Wikisource

Portrait of Max Beerbohm Max Beerbohm A Christmas Garland — A Recollection (1912)

When, moreover, he did speak, it was always in a sense contrary to that of our host. The Risorgimento was a theme always very near to the great heart of Browning, and on this occasion he hymned it with more than his usual animation and resource (if indeed that were possible) . He descanted especially on the vast increase that had accrued to the sum of human happiness in Italy since the success of that remarkable movement. When Ibsen rapped out the conviction that what Italy needed was to be invaded and conquered once and for all by Austria, I feared that an explosion was inevitable.
Source: Wikisource

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