A perfect example of the response to Robert Browning in his own time is probably through the view of Frank Harris. His book Contemporary Portraits shares the exact meeting of Robert Browning. Harris speaks of his first knoweldge of him, "It was as a student in Gottingen that I first got to know Robert Browning. The passion of the lyrics "The Last Ride Together," "In a Gondola," and many other enthralled me, and the "Men and Woman" taught me that the great lover was a great man to boot; but it was "The Ring and the Book" which gave me his measure, allowed me, so to speak, to lay my ear to the page and listen to Browning's heart beat" (219).
Harris shares, "I used to call Browning to myself 'Greatheart," for his courage and confidence and hope and as 'Greatheart' I often spoke of him" (219-220).
Frank Harris then meets Robert Browning for the first time, "I gazed and gazed, studied his face, his eyes, his expression; but could not see anything: his eyes were blue and clear, his nose a little beaked; but there was nothing distinguished about him, I had to admit to myself, nothing peculiar even nothing remarkable" (220).
Then Frank Harris finally gets to know Robert Browning, "We went away together and walked, I remember, across the park, and from that day on I began to know him. I soon found that all he had to give he had given in his books: in fact, I came to see that the poetry, the mere words, or, if you will, the inspiration of the moment had lent him thoughts beyond his seeing.
Take this verse in which he shows that injustice, or wrong may have a good result as a spur:
Then, welcome each rebuff
That turns earth's smoothness rough,
Each sting that bids nor sit nor stand but go!
Be our joys three-parts pain!
Strive, and hold cheap the strain;
Learn, nor account the pang; dare, never grude the throe!
Or this one with its lofty optimism:
Therefore I summon age
To grant youth's heritage,
Life's struggle having so far reached its term:
Thence shall I pass, approved
A man, for aye removed
From the developed brute; a God though in the germ.
Here is the heart of his song and it is mere Christian:
Not once beat "Praise be Thine!
"I see the whole design,
"I, who saw power, see now love perfect too:
"Perfect I call Thy plan:
"Thanks that I was a man!
"Maker, remake, complete, — I trust what Thou shalt do!"
No honest human soul can call the plan 'perfect.' Browning was certainly bigger in his writings than he was in intimacy. He is often spoke of as the least inspired poets. To my mind he owed more to verse and the inspiration of reflection than any man of genius I ever met" (Harris 223-224). This is a great way to look at Robert Browning, and in his time Frank Harris did a great job seeing Robert Browning for the man and the poet he truly is.
Instead of repeating the quotes I've used in the quote section I'm just going to quickly explain that today criticism seems to be harsher than it was in olden days. I feel like numerous people want to only see what they want to see. In The Convex Glass The Mind of Robert Browning, written by Norton B. Crowell, it re-examines Browning's thought, not so much to rescue his reputation as thinker or poet as to invite a fresh assessment of his poetry. This book gives a view completely opposite of Frank Harris' view.
The status of the author's work and his reputation over time has changed. As clearly shown by the two different views above, in his time people accepted the poetry and books as a work of great thought, while now in the present time, such as Crowell, wants to take apart that sense of thought and really find the importance of it or whether it's even worth what people say it's worth. I feel like people are going to have their own thoughts whether it was in Browning's time or in this present time. Browning's top poetry are still read today, "My Last Dutchess," "Porphyria's Lover," and "Meeting at Night." People today though are choosing for themselves what they like, rather than looking at all aspects of every writer and appreciating what they have to offer.