Robert Browning

Robert Browning

1812–1889 · lived 77 years GB GB

Robert Browning was a prominent English poet and playwright whose mastery of the dramatic monologue and keen psychological insight made him one of the most influential figures of the Victorian era. His work often delves into complex characters and moral dilemmas, exploring the depths of human nature with a distinctive, vigorous style. Browning's expansive vocabulary, intricate plotting, and philosophical bent continue to fascinate readers and scholars alike.

n. 1812-05-07, Londres · m. 1889-12-12, Veneza

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A Grammarian's Funeral

A Grammarian's Funeral
SHORTLY AFTER THE REVIVAL OF
LEARNING IN EUROPE.
Let us begin and carry up this corpse,
Singing together.
Leave we the common crofts, the vulgar thorpes
Each in its tether
Sleeping safe on the bosom of the plain,
Cared-for till cock-crow:
Look out if yonder be not day again
Rimming the rock-row!
That's the appropriate country; there, man's thought,
Rarer, intenser,
Self-gathered for an outbreak, as it ought,
Chafes in the censer.
Leave we the unlettered plain its herd and crop;
Seek we sepulture
On a tall mountain, citied to the top,
Crowded with culture!
All the peaks soar, but one the rest excels;
Clouds overcome it;
No! yonder sparkle is the citadel's
Circling its summit.
Thither our path lies; wind we up the heights:
Wait ye the warning?
Our low life was the level's and the night's;
He's for the morning.
Step to a tune, square chests, erect each head,
'Ware the beholders!
This is our master, famous calm and dead,
Borne on our shoulders.
Sleep, crop and herd! sleep, darkling thorpe and croft,
Safe from the weather!
He, whom we convoy to his grave aloft,
Singing together,
He was a man born with thy face and throat,
Lyric Apollo!
Long he lived nameless: how should spring take note
Winter would follow?
Till lo, the little touch, and youth was gone!
Cramped and diminished,
Moaned he, ``New measures, other feet anon!
``My dance is finished?''
No, that's the world's way: (keep the mountain-side,
Make for the city!)
He knew the signal, and stepped on with pride
Over men's pity;
Left play for work, and grappled with the world
Bent on escaping:
``What's in the scroll,'' quoth he, ``thou keepest furled?
``Show me their shaping,


``Theirs who most studied man, the bard and sage,---
``Give!''---So, he gowned him,
Straight got by heart that hook to its last page:
Learned, we found him.
Yea, but we found him bald too, eyes like lead,
Accents uncertain:
``Time to taste life,'' another would have said,
``Up with the curtain!''
This man said rather, ``Actual life comes next?
``Patience a moment!
``Grant I have mastered learning's crabbed text,
``Still there's the comment.
``Let me know all! Prate not of most or least,
``Painful or easy!
``Even to the crumbs I'd fain eat up the feast,
``Ay, nor feel queasy.''
Oh, such a life as he resolved to live,
When he had learned it,
When he had gathered all books had to give!
Sooner, he spurned it.
Image the whole, then execute the parts---
Fancy the fabric
Quite, ere you build, ere steel strike fire from quartz,
Ere mortar dab brick!
(Here's the town-gate reached: there's the market-place
Gaping before us.)
Yea, this in him was the peculiar grace
(Hearten our chorus!)
That before living he'd learn how to live---
No end to learning:
Earn the means first---God surely will contrive
Use for our earning.
Others mistrust and say, ``But time escapes:
``Live now or never!''
He said, ``What's time? Leave Now for dogs and apes!
``Man has Forever.''
Back to his book then: deeper drooped his head
_Calculus_ racked him:
Leaden before, his eyes grew dross of lead:
_Tussis_ attacked him.
``Now, master, take a little rest!''---not he!
(Caution redoubled,
Step two abreast, the way winds narrowly!)
Not a whit troubled
Back to his studies, fresher than at first,
Fierce as a dragon
He (soul-hydroptic with a sacred thirst)
Sucked at the flagon.
Oh, if we draw a circle premature,
Heedless of far gain,


Greedy for quick returns of profit, sure
Bad is our bargain!
Was it not great? did not he throw on God,
(He loves the burthen)---
God's task to make the heavenly period
Perfect the earthen?
Did not he magnify the mind, show clear
Just what it all meant?
He would not discount life, as fools do here,
Paid by instalment.
He ventured neck or nothing---heaven's success
Found, or earth's failure:
``Wilt thou trust death or not?'' He answered ``Yes:
``Hence with life's pale lure!''
That low man seeks a little thing to do,
Sees it and does it:
This high man, with a great thing to pursue,
Dies ere he knows it.
That low man goes on adding nine to one,
His hundred's soon hit:
This high man, aiming at a million,
Misses an unit.
That, has the world here---should he need the next,
Let the world mind him!
This, throws himself on God, and unperplexed
Seeking shall find him.
So, with the throttling hands of death at strife,
Ground he at grammar;
Still, thro' the rattle, parts of speech were rife:
While he could stammer
He settled _Hoti's_ business---let it be!---
Properly based _Oun_---
Gave us the doctrine of the enclitic _De_,
Dead from the waist down.
Well, here's the platform, here's the proper place:
Hail to your purlieus,
All ye highfliers of the feathered race,
Swallows and curlews!
Here's the top-peak; the multitude below
Live, for they can, there:
This man decided not to Live but Know---
Bury this man there?
Here---here's his place, where meteors shoot, clouds form,
Lightnings are loosened,
Stars come and go! Let joy break with the storm,
Peace let the dew send!
Lofty designs must close in like effects
Loftily lying,
Leave him---still loftier than the world suspects,
Living and dying.
Read full poem
Bio

Identification and basic context

Robert Browning was an English poet and playwright. His birth name was Robert Wiedemann Browning. He was born in Camberwell, London. His death occurred in Venice, Italy. He came from a moderately prosperous middle-class family. His father was a clerk in the Bank of England and a lover of literature and art. His mother was of Scottish and German descent, and he was raised in a culturally rich environment. He was a British national and wrote in English.

Childhood and education

Browning's childhood was spent in a home filled with books and art, fostering his early intellectual and artistic development. His father was a keen amateur artist and collector of books, and his mother was a talented musician and amateur painter. He received formal schooling at Dr. Wall's Academy and later at Henry Saltmarsh's school, but he was largely self-taught, devouring the contents of his father's extensive library. He showed a prodigious talent for poetry from a young age. His early readings included the Bible, classical literature, and the works of poets such as Byron, Shelley, and Keats. He was exposed to various cultural and religious influences, though his family's religious views were somewhat unorthodox.

Literary trajectory

Browning began writing poetry at a very young age, publishing his first poem at the age of 13. His early work, such as 'Pauline' (1833), showed the influence of Romantic poets like Shelley. His first major dramatic poem, 'Paracelsus' (1835), marked a step towards his mature style. The publication of 'Sordello' (1840) was met with critical incomprehension and is often considered a difficult work. His most famous period began with the publication of 'Dramatic Lyrics' (1842) and 'Dramatic Romances' (1845), which introduced his signature dramatic monologues. 'Men and Women' (1855) is a collection of profound and varied monologues. He also contributed to magazines and anthologies, and his plays, though not always successful on stage, were important literary works.

Works, style, and literary characteristics

Browning's major works include 'Pauline' (1833), 'Paracelsus' (1835), 'Sordello' (1840), 'Dramatic Lyrics' (1842), 'Dramatic Romances' (1845), 'Men and Women' (1855), 'The Ring and the Book' (1868-69), and 'Asolando' (1889). His dominant themes include love, faith, doubt, art, music, the complexities of human psychology, and the exploration of historical and artistic figures. His most characteristic form is the dramatic monologue, where a single speaker reveals their personality, motivations, and inner conflicts. His style is characterized by its intellectual rigor, vivid imagery, expansive vocabulary, intricate syntax, and often conversational tone, which can be challenging but rewarding. He experimented with meter and rhyme, often employing a vigorous and energetic rhythm. His poetic voice is diverse, adopting the persona of numerous characters from different historical periods and social strata.

Cultural and historical context

Browning lived during the Victorian era, a period of significant social, industrial, and intellectual change in Britain. He was part of a generation of poets that included Tennyson, Elizabeth Barrett Browning (his wife), and others, often associated with the broader Romantic and Victorian literary movements. While not overtly political, his works engage with the moral and philosophical debates of his time, particularly concerning faith, reason, and the nature of good and evil. His poetry reflected the burgeoning interest in history, art, and psychology that characterized the era.

Personal life

Browning's personal life was deeply influenced by his marriage to fellow poet Elizabeth Barrett. Their courtship, conducted largely through letters, and their subsequent elopement to Italy, formed a significant chapter in both their lives and his poetry. Elizabeth's invalidism and his devotion to her are evident in some of his works. He was also known for his friendships with other literary figures and his active social life. His father's extensive library profoundly shaped his intellectual development. He was a devoted husband and father.

Recognition and reception

Browning's reception was varied during his lifetime. While he gained a devoted following and critical admiration, particularly for his dramatic monologues, he was often overshadowed by Tennyson as the official poet laureate. 'The Ring and the Book' brought him widespread acclaim and cemented his reputation as a major poet. Posthumously, his work has been consistently recognized for its complexity, psychological depth, and innovation, solidifying his place as a master of the dramatic monologue and a key figure in English literature.

Influences and legacy

Browning was influenced by poets such as Shelley, Keats, and Byron, as well as by Renaissance drama and historical figures. His legacy lies primarily in his pioneering use and mastery of the dramatic monologue, a form that profoundly influenced later poets. His complex characters, exploration of moral ambiguity, and intellectual depth have continued to inspire literary study and analysis. He is considered a foundational figure for modern poetry's interest in psychological realism and diverse perspectives. His works are widely translated and studied globally.

Interpretation and critical analysis

Browning's poetry is rich ground for interpretation, often analyzed for its philosophical underpinnings, psychological realism, and innovative use of language. Critics have debated the moral stances of his speakers, the extent to which Browning himself endorsed their views, and the complex interplay between faith and doubt in his work. The psychological depth of his characters and his exploration of the darker aspects of human motivation have been central to critical discussions.

Curiosities and lesser-known aspects

Browning was an accomplished amateur pianist and had a deep appreciation for music, which often informed his poetry. He was also a keen observer of human nature, often sketching character studies in his notebooks. He was known for his energetic personality and his habit of composing poetry while walking. Despite his intellectual pursuits, he also had a keen interest in sporting activities.

Death and memory

Robert Browning died in Venice in 1889, shortly after the publication of his last collection of poems, 'Asolando'. He was buried in Westminster Abbey, a testament to his enduring stature in English literature. His memory is preserved through the continued study and appreciation of his vast and intricate body of work.

Poems

72

Instans Tyrannus

Instans Tyrannus
I.
Of the million or two, more or less,
I rule and possess,
One man, for some cause undefined,
Was least to my mind.
II.
I struck him, he grovelled of course---
For, what was his force?
I pinned him to earth with my weight
And persistence of hate:
And he lay, would not moan, would not curse,
As his lot might be worse.
III.
``Were the object less mean, would he stand
``At the swing of my hand!
``For obscurity helps him and blots
``The hole where he squats.''
So, I set my five wits on the stretch
To inveigle the wretch.
All in vain! Gold and jewels I threw,
Still he couched there perdue;
I tempted his blood and his flesh,
Hid in roses my mesh,
Choicest cates and the flagon's best spilth:
Still he kept to his filth.
IV.
Had he kith now or kin, were access
To his heart, did I press:
Just a son or a mother to seize!
No such booty as these.
Were it simply a friend to pursue
'Mid my million or two,
Who could pay me in person or pelf
What he owes me himself!
No: I could not but smile through my chafe:
For the fellow lay safe
As his mates do, the midge and the nit,
---Through minuteness, to wit.
V.
Then a humour more great took its place
At the thought of his face,
The droop, the low cares of the mouth,
The trouble uncouth


'Twixt the brows, all that air one is fain
To put out of its pain.
And, ``no!'' I admonished myself,
``Is one mocked by an elf,
``Is one baffled by toad or by rat?
``The gravamen's in that!
``How the lion, who crouches to suit
``His back to my foot,
``Would admire that I stand in debate!
``But the small turns the great
``If it vexes you,---that is the thing!
``Toad or rat vex the king?
``Though I waste half my realm to unearth
``Toad or rat, 'tis well worth!''
VI.
So, I soberly laid my last plan
To extinguish the man.
Round his creep-hole, with never a break
Ran my fires for his sake;
Over-head, did my thunder combine
With my underground mine:
Till I looked from my labour content
To enjoy the event.
VII.
When sudden ... how think ye, the end?
Did I say ``without friend''?
Say rather, from marge to blue marge
The whole sky grew his targe
With the sun's self for visible boss,
While an Arm ran across
Which the earth heaved beneath like a breast
Where the wretch was safe prest!
Do you see? Just my vengeance complete,
The man sprang to his feet,
Stood erect, caught at God's skirts, and prayed!
---So, _I_ was afraid!
344

In Three Days

In Three Days
I.
So, I shall see her in three days
And just one night, but nights are short,
Then two long hours, and that is morn.
See how I come, unchanged, unworn!
Feel, where my life broke off from thine,
How fresh the splinters keep and fine,---
Only a touch and we combine!
II.
Too long, this time of year, the days!
But nights, at least the nights are short.
As night shows where ger one moon is,
A hand's-breadth of pure light and bliss,
So life's night gives my lady birth
And my eyes hold her! What is worth
The rest of heaven, the rest of earth?
III.
O loaded curls, release your store
Of warmth and scent, as once before
The tingling hair did, lights and darks
Outbreaking into fairy sparks,
When under curl and curl I pried
After the warmth and scent inside,
Thro' lights and darks how manifold---
The dark inspired, the light controlled
As early Art embrowns the gold.
IV.
What great fear, should one say, ``Three days
``That change the world might change as well
``Your fortune; and if joy delays,
``Be happy that no worse befell!''
What small fear, if another says,
``Three days and one short night beside
``May throw no shadow on your ways;
``But years must teem with change untried,
``With chance not easily defied,
``With an end somewhere undescried.''
No fear!---or if a fear be born
This minute, it dies out in scorn.
Fear? I shall see her in three days
And one night, now the nights are short,
Then just two hours, and that is morn.
410

In A Gondola

In A Gondola
He sings_.
I send my heart up to thee, all my heart
In this my singing.
For the stars help me, and the sea bears part;
The very night is clinging
Closer to Venice' streets to leave one space
Above me, whence thy face
May light my joyous heart to thee its dwelling-place.
_She speaks_.
Say after me, and try to say
My very words, as if each word
Came from you of your own accord,
In your own voice, in your own way:
``This woman's heart and soul and brain
``Are mine as much as this gold chain
``She bids me wear; which'' (say again)
``I choose to make by cherishing
``A precious thing, or choose to fling
``Over the boat-side, ring by ring.''
And yet once more say ... no word more!
Since words are only words. Give o'er!
Unless you call me, all the same,
Familiarly by my pet name,
Which if the Three should hear you call,
And me reply to, would proclaim
At once our secret to them all.
Ask of me, too, command me, blame---
Do, break down the partition-wall
'Twixt us, the daylight world beholds
Curtained in dusk and splendid folds!
What's left but---all of me to take?
I am the Three's: prevent them, slake
Your thirst! 'Tis said, the Arab sage,
In practising with gems, can loose
Their subtle spirit in his cruce
And leave but ashes: so, sweet mage,
Leave them my ashes when thy use
Sucks out my soul, thy heritage!
_He sings_.
I.
Past we glide, and past, and past!
What's that poor Agnese doing
Where they make the shutters fast?
Grey Zanobi's just a-wooing
To his couch the purchased bride:


Past we glide!
II.
Past we glide, and past, and past!
Why's the Pucci Palace flaring
Like a beacon to the blast?
Guests by hundreds, not one caring
If the dear host's neck were wried:
Past we glide!
_She sings_.
I.
The moth's kiss, first!
Kiss me as if you made believe
You were not sure, this eve,
How my face, your flower, had pursed
Its petals up; so, here and there
You brush it, till I grow aware
Who wants me, and wide ope I burst.
II.
The bee's kiss, now!
Kiss me as if you entered gay
My heart at some noonday,
A bud that dares not disallow
The claim, so all is rendered up,
And passively its shattered cup
Over your head to sleep I bow.
_He sings_.
I.
What are we two?
I am a Jew,
And carry thee, farther than friends can pursue,
To a feast of our tribe;
Where they need thee to bribe
The devil that blasts them unless he imbibe
Thy ... Scatter the vision for ever! And now,
As of old, I am I, thou art thou!
II.
Say again, what we are?
The sprite of a star,
I lure thee above where the destinies bar
My plumes their full play


Till a ruddier ray
Than my pale one announce there is withering away
Some ... Scatter the vision for ever! And now,
As of old, I am I, thou art thou!
_He muses_.
Oh, which were best, to roam or rest?
The land's lap or the water's breast?
To sleep on yellow millet-sheaves,
Or swim in lucid shallows just
Eluding water-lily leaves,
An inch from Death's black fingers, thrust
To lock you, whom release he must;
Which life were best on Summer eves?
_He speaks, musing_.
Lie back; could thought of mine improve you?
From this shoulder let there spring
A wing; from this, another wing;
Wings, not legs and feet, shall move you!
Snow-white must they spring, to blend
With your flesh, but I intend
They shall deepen to the end,
Broader, into burning gold,
Till both wings crescent-wise enfold
Your perfect self, from 'neath your feet
To o'er your head, where, lo, they meet
As if a million sword-blades hurled
Defiance from you to the world!
Rescue me thou, the only real!
And scare away this mad ideal
That came, nor motions to depart!
Thanks! Now, stay ever as thou art!
_Still he muses_.
I.
What if the Three should catch at last
Thy serenader? While there's cast
Paul's cloak about my head, and fast
Gian pinions me, himself has past
His stylet thro' my back; I reel;
And ... is it thou I feel?
II.
They trail me, these three godless knaves,
Past every church that saints and saves,


Nor stop till, where the cold sea raves
By Lido's wet accursed graves,
They scoop mine, roll me to its brink,
And ... on thy breast I sink
_She replies, musing_.
Dip your arm o'er the boat-side, elbow-deep,
As I do: thus: were death so unlike sleep,
Caught this way? Death's to fear from flame or steel,
Or poison doubtless; but from water---feel!
Go find the bottom! Would you stay me? There!
Now pluck a great blade of that ribbon-grass
To plait in where the foolish jewel was,
I flung away: since you have praised my hair,
'Tis proper to be choice in what I wear.
_He speaks_.
Row home? must we row home? Too surely
Know I where its front's demurely
Over the Giudecca piled;
Window just with window mating,
Door on door exactly waiting,
All's the set face of a child:
But behind it, where's a trace
Of the staidness and reserve,
And formal lines without a curve,
In the same child's playing-face?
No two windows look one way
O'er the small sea-water thread
Below them. Ah, the autumn day
I, passing, saw you overhead!
First, out a cloud of curtain blew,
Then a sweet cry, and last came you---
To catch your lory that must needs
Escape just then, of all times then,
To peck a tall plant's fleecy seeds,
And make me happiest of men.
I scarce could breathe to see you reach
So far back o'er the balcony
To catch him ere he climbed too high
Above you in the Smyrna peach
That quick the round smooth cord of gold,
This coiled hair on your head, unrolled,
Fell down you like a gorgeous snake
The Roman girls were wont, of old,
When Rome there was, for coolness' sake
To let lie curling o'er their bosoms.
Dear lory,* may his beak retain
Ever its delicate rose stain


As if the wounded lotus-blossoms
Had marked their thief to know again!
Stay longer yet, for others' sake
Than mine! What should your chamber do?
---With all its rarities that ache
In silence while day lasts, but wake
At night-time and their life renew,
Suspended just to pleasure you
Who brought against their will together
These objects, and, while day lasts, weave
Around them such a magic tether
That dumb they look: your harp, believe,
With all the sensitive tight strings
Which dare not speak, now to itself
Breathes slumberously, as if some elf
Went in and out the chords, his wings
Make murmur wheresoe'er they graze,
As an angel may, between the maze
Of midnight palace-pillars, on
And on, to sow God's plagues, have gone
Through guilty glorious Babylon.
And while such murmurs flow, the nymph
Bends o'er the harp-top from her shell
As the dry limpet for the lymph
Come with a tune be knows so well.
And how your statues' hearts must swell!
And how your pictures must descend
To see each other, friend with friend!
Oh, could you take them by surprise,
You'd find Schidone's eager Duke
Doing the quaintest courtesies
To that prim saint by Haste-thee-Luke!
And, deeper into her rock den,
Bold Castelfranco's Magdalen
You'd find retreated from the ken
Of that robed counsel-keeping Ser---
As if the Tizian thinks of her,
And is not, rather, gravely bent
On seeing for himself what toys
Are these, his progeny invent,
What litter now the board employs
Whereon he signed a document
That got him murdered! Each enjoys
Its night so well, you cannot break
The sport up, so, indeed must make
More stay with me, for others' sake.
_She speaks_.
I.


To-morrow, if a harp-string, say,
Is used to tie the jasmine back
That overfloods my room with sweets,
Contrive your Zorzi somehow meets
My Zanze! If the ribbon's black,
The Three are watching: keep away!
II.
Your gondola---let Zorzi wreathe
A mesh of water-weeds about
its prow, as if he unaware
Had struck some quay or bridge-foot stair!
That I may throw a paper out
As you and he go underneath.
There's Zanze's vigilant taper; safe are we.
Only one minute more to-night with me?
Resume your past self of a month ago!
Be you the bashful gallant, I will be
The lady with the colder breast than snow.
Now bow you, as becomes, nor touch my hand
More than I touch yours when I step to land,
And say, ``All thanks, Siora!''---
Heart to heart
And lips to lips! Yet once more, ere we part,
Clasp me and make me thine, as mine thou art!
[_He is surprised, and stabbed_.
It was ordained to be so, sweet!---and best
Comes now, beneath thine eyes, upon thy breast.
Still kiss me! Care not for the cowards! Care
Only to put aside thy beauteous hair
My blood will hurt! The Three, I do not scorn
To death, because they never lived: but I
Have lived indeed, and so---(yet one more kiss)---can die!
402

Home-Thoughts, From The Sea

Home-Thoughts, From The Sea
Nobly, nobly Cape Saint Vincent to the North-west died away;
Sunset ran, one glorious blood-red, reeking into Cadiz Bay;
Bluish 'mid the burning water, full in face Trafalgar lay;
In the dimmest North-east distance dawned Gibraltar grand and gray;
``Here and here did England help me: how can I help England?''---say,
Whoso turns as I, this evening, turn to God to praise and pray,
While Jove's planet rises yonder, silent over Africa.
263

Home Thoughts, from the Sea

Home Thoughts, from the Sea
Nobly, nobly Cape Saint Vincent to the North-west died away;
Sunset ran, one glorious blood-red, reeking into Cadiz Bay;
Bluish 'mid the burning water, full in face Trafalgar lay;
In the dimmest North-east distance dawned Gibraltar grand and grey;
"Here and here did England help me: how can I help England?" -say,
Whoso turns as I, this evening, turn to God to praise and pray,
While Jove's planet rises yonder, silent over Africa.
270

Heap Cassia, Sandal-Buds and Stripes

Heap Cassia, Sandal-Buds and Stripes
Heap Cassia, sandal-buds and stripes
Of labdanum, and aloe-balls,
Smeared with dull nard an Indian wipes
From out her hair: such balsam falls
Down sea-side mountain pedestals,
From tree-tops where tired winds are fain,
Spent with the vast and howling main,
To treasure half their island-gain.
And strew faint sweetness from some old
Egyptian's fine worm-eaten shroud
Which breaks to dust when once unrolled;
Or shredded perfume, like a cloud
From closet long to quiet vowed,
With mothed and dropping arras hung,
Mouldering her lute and books among,
As when a queen, long dead, was young.
234

Holy-Cross Day

Holy-Cross Day
ON WHICH THE JEWS WERE FORCED TO
ATTEND AN ANNUAL CHRISTIAN SERMON
IN ROME.
[``Now was come about Holy-Cross Day,
and now must my lord preach his first sermon
to the Jews: as it was of old cared for in tine
merciful bowels of the Church, that, so to
speak, a crumb at least from her conspicuous
table here in Rome should be, though but
once yearly, cast to the famishing dogs, under-trampled
and bespitten-upon beneath the feet
of the guests. And a moving sight in truth,
this, of so many of the besotted blind restif
and ready-to-perish Hebrews! now maternally
brought---nay (for He saith, `Compel them
to come in') haled, as it were, by the head and
hair, and against their obstinate hearts, to partake
of the heavenly grace. What awakening,
what striving with tears, what working of a
yeasty conscience! Nor was my lord wanting
to himself on so apt an occasion; witness
the abundance of conversions which did incontinently
reward him: though not to my
lord be altogether the glory.''---_Diary by the
Bishop's Secretary,_ .]
What the Jews really said, on thus being
driven to church, was rather to this effect:---
I.
Fee, faw, fum! bubble and squeak!
Blessedest Thursday's the fat of the week.
Rumble and tumble, sleek and rough,
Stinking and savoury, simug and gruff,
Take the church-road, for the bell's due chime
Gives us the summons---'tis sermon-time!
II.
Bob, here's Barnabas! Job, that's you?
Up stumps Solomon---bustling too?
Shame, man! greedy beyond your years
To handsel the bishop's shaving-shears?
Fair play's a jewel! Leave friends in the lurch?
Stand on a line ere you start for the church!
III.
Higgledy piggledy, packed we lie,
Rats in a hamper, swine in a stye,


Wasps in a bottle, frogs in a sieve,
Worms in a carcase, fleas in a sleeve.
Hist! square shoulders, settle your thumbs
And buzz for the bishop---here he comes.
IV.
Bow, wow, wow---a bone for the dog!
I liken his Grace to an acorned hog.
What, a boy at his side, with the bloom of a lass,
To help and handle my lord's hour-glass!
Didst ever behold so lithe a chine?
His cheek hath laps like a fresh-singed swine.
V.
Aaron's asleep---shove hip to haunch,
Or somebody deal him a dig in the paunch!
Look at the purse with the tassel and knob,
And the gown with the angel and thingumbob!
What's he at, quotha? reading his text!
Now you've his curtsey---and what comes next?
VI.
See to our converts---you doomed black dozen---
No stealing away---nor cog nor cozen!
You five, that were thieves, deserve it fairly;
You seven, that were beggars, will live less sparely;
You took your turn and dipped in the hat,
Got fortune---and fortune gets you; mind that!
VII.
Give your first groan---compunction's at work;
And soft! from a Jew you mount to a Turk.
Lo, Micah,---the selfsame beard on chin
He was four times already converted in!
Here's a knife, clip quick---it's a sign of grace---
Or he ruins us all with his hanging-face.
VIII.
Whom now is the bishop a-leering at?
I know a point where his text falls pat.
I'll tell him to-morrow, a word just now
Went to my heart and made me vow
I meddle no more with the worst of trades---
Let somebody else pay his serenades.
IX.


Groan all together now, whee-hee-hee!
It's a-work, it's a-work, ah, woe is me!
It began, when a herd of us, picked and placed,
Were spurred through the Corso, stripped to the waist;
Jew brutes, with sweat and blood well spent
To usher in worthily Christian Lent.
X.
It grew, when the hangman entered our bounds,
Yelled, pricked us out to his church like hounds:
It got to a pitch, when the hand indeed
Which gutted my purse would throttle my creed:
And it overflows when, to even the odd,
Men I helped to their sins help me to their God.
XI.
But now, while the scapegoats leave our flock,
And the rest sit silent and count the clock,
Since forced to muse the appointed time
On these precious facts and truths sublime,---
Let us fitly ennploy it, under our breath,
In saying Ben Ezra's Song of Death.
XII.
For Rabbi Ben Ezra, the night he died,
Called sons and sons' sons to his side,
And spoke, ``This world has been harsh and strange;
``Something is wrong: there needeth a change.
``But what, or where? at the last or first?
``In one point only we sinned, at worst.
XIII.
``The Lord will have mercy on Jacob yet,
``And again in his border see Israel set.
``When Judah beholds Jerusalem,
``The stranger-seed shall be joined to them:
``To Jacob's House shall the Gentiles cleave.
``So the Prophet saith and his sons believe.
XIV.
``Ay, the children of the chosen race
``Shall carry and bring them to their place:
``In the land of the Lord shall lead the same,
``Bondsmen and handmaids. Who shall blame,
``When the slaves enslave, the oppressed ones o'er
``The oppressor triumph for evermore?


XV.
``God spoke, and gave us the word to keep,
``Bade never fold the hands nor sleep
``'Mid a faithless world,---at watch and ward,
``Till Christ at the end relieve our guard.
``By His servant Moses the watch was set:
``Though near upon cock-crow, we keep it yet.
XVI.
``Thou! if thou wast He, who at mid-watch came,
``By the starlight, naming a dubious name!
``And if, too heavy with sleep---too rash
``With fear---O Thou, if that martyr-gash
``Fell on Thee coming to take thine own,
``And we gave the Cross, when we owed the Throne---
XVII.
``Thou art the Judge. We are bruised thus.
``But, the Judgment over, join sides with us!
``Thine too is the cause! and not more thine
``Than ours, is the work of these dogs and swine,
``Whose life laughs through and spits at their creed!
``Who maintain Thee in word, and defy Thee in deed!
XVIII.
``We withstood Christ then? Be mindful how
``At least we withstand Barabbas now!
``Was our outrage sore? But the worst we spared,
``To have called these---Christians, had we dared!
``Let defiance to them pay mistrust of Thee,
``And Rome make amends for Calvary!
XIX.
``By the torture, prolonged from age to age,
``By the infamy, Israel's heritage,
``By the Ghetto's plague, by the garb's disgrace,
``By the badge of shame, by the felon's place,
``By the branding-tool, the bloody whip,
``And the summons to Christian fellowship,---
XX.
``We boast our proof that at least the Jew
``Would wrest Christ's name from the Devil's crew.
``Thy face took never so deep a shade
``But we fought them in it, God our aid!
``A trophy to bear, as we marchs, thy band,


``South, East, and on to the Pleasant Land!''
[_Pope Gregory XVI. abolished this bad
business of the Sermon._---R. B.]
440

Glove, The

Glove, The
(PETER RONSARD _loquitur_.)
``Heigho!'' yawned one day King Francis,
``Distance all value enhances!
``When a man's busy, why, leisure
``Strikes him as wonderful pleasure:
`` 'Faith, and at leisure once is he?
``Straightway he wants to be busy.
``Here we've got peace; and aghast I'm
``Caught thinking war the true pastime.
``Is there a reason in metre?
``Give us your speech, master Peter!''
I who, if mortal dare say so,
Ne'er am at loss with my Naso,
``Sire,'' I replied, ``joys prove cloudlets:
``Men are the merest Ixions''---
Here the King whistled aloud, ``Let's
``---Heigho---go look at our lions!''
Such are the sorrowful chances
If you talk fine to King Francis.
And so, to the courtyard proceeding,
Our company, Francis was leading,
Increased by new followers tenfold
Before be arrived at the penfold;
Lords, ladies, like clouds which bedizen
At sunset the western horizon.
And Sir De Lorge pressed 'mid the foremost
With the dame he professed to adore most.
Oh, what a face! One by fits eyed
Her, and the horrible pitside;
For the penfold surrounded a hollow
Which led where the eye scarce dared follow,
And shelved to the chamber secluded
Where Bluebeard, the great lion, brooded.
The King bailed his keeper, an Arab
As glossy and black as a scarab,*
And bade him make sport and at once stir
Up and out of his den the old monster.
They opened a hole in the wire-work
Across it, and dropped there a firework,
And fled: one's heart's beating redoubled;
A pause, while the pit's mouth was troubled,
The blackness and silence so utter,
By the firework's slow sparkling and sputter;
Then earth in a sudden contortion
Gave out to our gaze her abortion.
Such a brute! Were I friend Clement Marot
(Whose experience of nature's but narrow,
And whose faculties move in no small mist
When he versifies David the Psalmist)
I should study that brute to describe you


_Illim Juda Leonem de Tribu_.
One's whole blood grew curdling and creepy
To see the black mane, vast and heapy,
The tail in the air stiff and straining,
The wide eyes, nor waxing nor waning,
As over the barrier which bounded
His platform, and us who surrounded
The barrier, they reached and they rested
On space that might stand him in best stead:
For who knew, he thought, what the amazement,
The eruption of clatter and blaze meant,
And if, in this minute of wonder,
No outlet, 'mid lightning and thunder,
Lay broad, and, his shackles all shivered,
The lion at last was delivered?
Ay, that was the open sky o'erhead!
And you saw by the flash on his forehead,
By the hope in those eyes wide and steady,
He was leagues in the desert already,
Driving the flocks up the mountain,
Or catlike couched hard by the fountain
To waylay the date-gathering negress:
So guarded he entrance or egress.
``How he stands!'' quoth the King: ``we may well swear,
(``No novice, we've won our spurs elsewhere
``And so can afford the confession,)
``We exercise wholesome discretion
``In keeping aloof from his threshold;
``Once hold you, those jaws want no fresh hold,
``Their first would too pleasantly purloin
``The visitor's brisket or surloin:
``But who's he would prove so fool-hardy?
``Not the best man of Marignan, pardie!''
The sentence no sooner was uttered,
Than over the rails a glove flattered,
Fell close to the lion, and rested:
The dame 'twas, who flung it and jested
With life so, De Lorge had been wooing
For months past; he sat there pursuing
His suit, weighing out with nonchalance
Fine speeches like gold from a balance.
Sound the trumpet, no true knight's a tarrier!
De Lorge made one leap at the barrier,
Walked straight to the glove,---while the lion
Neer moved, kept his far-reaching eye on
The palm-tree-edged desert-spring's sapphire,
And the musky oiled skin of the Kaffir,---
Picked it up, and as calmly retreated,
Leaped back where the lady was seated,
And full in the face of its owner


Flung the glove.
``Your heart's queen, you dethrone her?
``So should I!''---cried the King---``'twas mere vanity,
``Not love, set that task to humanity!''
Lords and ladies alike turned with loathing
From such a proved wolf in sheep's clothing.
Not so, I; for I caught an expression
In her brow's undisturbed self-possession
Amid the Court's scoffing and merriment,---
As if from no pleasing experiment
She rose, yet of pain not much heedful
So long as the process was needful,---
As if she had tried in a crucible,
To what ``speeches like gold'' were reducible,
And, finding the finest prove copper,
Felt the smoke in her face was but proper;
To know what she had _not_ to trust to,
Was worth all the ashes and dust too.
She went out 'mid hooting and laughter;
Clement Marot stayed; I followed after,
And asked, as a grace, what it all meant?
If she wished not the rash deed's recalment?
``For I''---so I spoke---``am a poet:
``Human nature,---behoves that I know it!''
She told me, ``Too long had I heard
``Of the deed proved alone by the word:
``For my love---what De Lorge would not dare!
``With my scorn---what De Lorge could compare!
``And the endless descriptions of death
``He would brave when my lip formed a breath,
``I must reckon as braved, or, of course,
``Doubt his word---and moreover, perforce,
``For such gifts as no lady could spurn,
``Must offer my love in return.
``When I looked on your lion, it brought
``All the dangers at once to my thought,
``Encountered by all sorts of men,
``Before he was lodged in his den,---
``From the poor slave whose club or bare hands
``Dug the trap, set the snare on the sands,
``With no King and no Court to applaud,
``By no shame, should he shrink, overawed,
``Yet to capture the creature made shift,
``That his rude boys might laugh at the gift,
``---To the page who last leaped o'er the fence
``Of the pit, on no greater pretence
``Than to get back the bonnet he dropped,
``Lest his pay for a week should be stopped.
``So, wiser I judged it to make


``One trial what `death for my sake'
``Really meant, while the power was yet mine,
``Than to wait until time should define
``Such a phrase not so simply as I,
``Who took it to mean just `to die.'
``The blow a glove gives is but weak:
``Does the mark yet discolour my cheek?
``But when the heart suffers a blow,
``Will the pain pass so soon, do you know?''
I looked, as away she was sweeping,
And saw a youth eagerly keeping
As close as he dared to the doorway.
No doubt that a noble should more weigh
His life than befits a plebeian;
And yet, had our brute been Nemean---
(I judge by a certain calm fervour
The youth stepped with, forward to serve her)
---He'd have scarce thought you did him the worst turn
If you whispered ``Friend, what you'd get, first earn!''
And when, shortly after, she carried
Her shame from the Court, and they married,
To that marriage some happiness, maugre
The voice of the Court, I dared augur.
For De Lorge, he made women with men vie,
Those in wonder and praise, these in envy;
And in short stood so plain a head taller
That he wooed and won ... how do you call her?
The beauty, that rose in the sequel
To the King's love, who loved her a week well.
And 'twas noticed he never would honour
De Lorge (who looked daggers upon her)
With the easy commission of stretching
His legs in the service, and fetching
His wife, from her chamber, those straying
Sad gloves she was always mislaying,
While the King took the closet to chat in,---
But of course this adventure came pat in.
And never the King told the story,
How bringing a glove brought such glory,
But the wife smiled---``His nerves are grown firmer:
``Mine he brings now and utters no murmur.''
_Venienti occurrite morbo!_
With which moral I drop my theorbo.
* A beetle.
323

From 'Pauline'

From 'Pauline'
O God, where does this tend—these struggling aims?
What would I have? What is this ‘sleep’, which seems
To bound all? can there be a ‘waking’ point
Of crowning life? The soul would never rule—
It would be first in all things—it would have
Its utmost pleasure filled,—but that complete
Commanding for commanding sickens it.
The last point I can trace is, rest beneath
Some better essence than itself—in weakness;
This is ‘myself’—not what I think should be
And what is that I hunger for but God?
My God, my God! let me for once look on thee
As tho’ nought else existed: we alone.
And as creation crumbles, my soul’s spark
Expands till I can say, ‘Even from myself
I need thee, and I feel thee, and I love thee;
I do not plead my rapture in thy works
For love of thee—or that I feel as one
Who cannot die—but there is that in me
Which turns to thee, which loves, or which should love.’
Why have I girt myself with this hell-dress?
Why have I laboured to put out my life?
Is it not in my nature to adore,
And e’en for all my reason do I not
Feel him, and thank him, and pray to him—now?
Can I forgo the trust that he loves me?
Do I not feel a love which only ONE…
O thou pale form, so dimly seen, deep-eyed,
I have denied thee calmly—do I not
Pant when I read of thy consummate deeds,
And burn to see thy calm pure truths out-flash
The brightest gleams of earth’s philosophy?
Do I not shake to hear aught question thee?
If I am erring save me, madden me,
Take from me powers and pleasures—let me die.
Ages, so I see thee: I am knit round
As with a charm, by sin and lust and pride,
Yet tho’ my wandering dreams have seen all shapes
Of strange delight, oft have I stood by thee—
Have I been keeping lonely watch with thee
In the damp night by weeping Olivet,
Or leaning on thy bosom, proudly less—
Or dying with thee on the lonely cross—
Or witnessing thy bursting from the tomb!
320

Fra Lippo Lippi

Fra Lippo Lippi
I am poor brother Lippo, by your leave!
You need not clap your torches to my face.
Zooks, what's to blame? you think you see a monk!
What, 'tis past midnight, and you go the rounds,
And here you catch me at an alley's end
Where sportive ladies leave their doors ajar?
The Carmine's my cloister: hunt it up,
Do,--harry out, if you must show your zeal,
Whatever rat, there, haps on his wrong hole,
And nip each softling of a wee white mouse,
Weke, weke, that's crept to keep him company!
Aha, you know your betters! Then, you'll take
Your hand away that's fiddling on my throat,
And please to know me likewise. Who am I?
Why, one, sir, who is lodging with a friend
Three streets off--he's a certain . . . how d'ye call?
Master--a ...Cosimo of the Medici,
I' the house that caps the corner. Boh! you were best!
Remember and tell me, the day you're hanged,
How you affected such a gullet's-gripe!
But you, sir, it concerns you that your knaves
Pick up a manner nor discredit you:
Zooks, are we pilchards, that they sweep the streets
And count fair price what comes into their net?
He's Judas to a tittle, that man is!
Just such a face! Why, sir, you make amends.
Lord, I'm not angry! Bid your hang-dogs go
Drink out this quarter-florin to the health
Of the munificent House that harbours me
(And many more beside, lads! more beside!)
And all's come square again. I'd like his face--
His, elbowing on his comrade in the door
With the pike and lantern,--for the slave that holds
John Baptist's head a-dangle by the hair
With one hand ("Look you, now," as who should say)
And his weapon in the other, yet unwiped!
It's not your chance to have a bit of chalk,
A wood-coal or the like? or you should see!
Yes, I'm the painter, since you style me so.
What, brother Lippo's doings, up and down,
You know them and they take you? like enough!
I saw the proper twinkle in your eye--
'Tell you, I liked your looks at very first.
Let's sit and set things straight now, hip to haunch.
Here's spring come, and the nights one makes up bands
To roam the town and sing out carnival,
And I've been three weeks shut within my mew,
A-painting for the great man, saints and saints
And saints again. I could not paint all night--
Ouf! I leaned out of window for fresh air.
There came a hurry of feet and little feet,
A sweep of lute strings, laughs, and whifts of song, --


Flower o' the broom,
Take away love, and our earth is a tomb!
Flower o' the quince,
I let Lisa go, and what good in life since?
Flower o' the thyme--and so on. Round they went.
Scarce had they turned the corner when a titter
Like the skipping of rabbits by moonlight,--three slim shapes,
And a face that looked up . . . zooks, sir, flesh and blood,
That's all I'm made of! Into shreds it went,
Curtain and counterpane and coverlet,
All the bed-furniture--a dozen knots,
There was a ladder! Down I let myself,
Hands and feet, scrambling somehow, and so dropped,
And after them. I came up with the fun
Hard by Saint Laurence, hail fellow, well met,--
Flower o' the rose,
If I've been merry, what matter who knows?
And so as I was stealing back again
To get to bed and have a bit of sleep
Ere I rise up to-morrow and go work
On Jerome knocking at his poor old breast
With his great round stone to subdue the flesh,
You snap me of the sudden. Ah, I see!
Though your eye twinkles still, you shake your head--
Mine's shaved--a monk, you say--the sting 's in that!
If Master Cosimo announced himself,
Mum's the word naturally; but a monk!
Come, what am I a beast for? tell us, now!
I was a baby when my mother died
And father died and left me in the street.
I starved there, God knows how, a year or two
On fig-skins, melon-parings, rinds and shucks,
Refuse and rubbish. One fine frosty day,
My stomach being empty as your hat,
The wind doubled me up and down I went.
Old Aunt Lapaccia trussed me with one hand,
(Its fellow was a stinger as I knew)
And so along the wall, over the bridge,
By the straight cut to the convent. Six words there,
While I stood munching my first bread that month:
"So, boy, you're minded," quoth the good fat father
Wiping his own mouth, 'twas refection-time,--
"To quit this very miserable world?
Will you renounce" . . . "the mouthful of bread?" thought I;
By no means! Brief, they made a monk of me;
I did renounce the world, its pride and greed,
Palace, farm, villa, shop, and banking-house,
Trash, such as these poor devils of Medici
Have given their hearts to--all at eight years old.
Well, sir, I found in time, you may be sure,
'T#was not for nothing--the good bellyful,
The warm serge and the rope that goes all round,


And day-long blessed idleness beside!
"Let's see what the urchin's fit for"--that came next.
Not overmuch their way, I must confess.
Such a to-do! They tried me with their books:
Lord, they'd have taught me Latin in pure waste!
Flower o' the clove.
All the Latin I construe is, "amo" I love!
But, mind you, when a boy starves in the streets
Eight years together, as my fortune was,
Watching folk's faces to know who will fling
The bit of half-stripped grape-bunch he desires,
And who will curse or kick him for his pains,--
Which gentleman processional and fine,
Holding a candle to the Sacrament,
Will wink and let him lift a plate and catch
The droppings of the wax to sell again,
Or holla for the Eight and have him whipped,--
How say I?--nay, which dog bites, which lets drop
His bone from the heap of offal in the street,--
Why, soul and sense of him grow sharp alike,
He learns the look of things, and none the less
For admonition from the hunger-pinch.
I had a store of such remarks, be sure,
Which, after I found leisure, turned to use.
I drew men's faces on my copy-books,
Scrawled them within the antiphonary's marge,
Joined legs and arms to the long music-notes,
Found eyes and nose and chin for A's and B's,
And made a string of pictures of the world
Betwixt the ins and outs of verb and noun,
On the wall, the bench, the door. The monks looked black.
"Nay," quoth the Prior, "turn him out, d'ye say?
In no wise. Lose a crow and catch a lark.
What if at last we get our man of parts,
We Carmelites, like those Camaldolese
And Preaching Friars, to do our church up fine
And put the front on it that ought to be!"
And hereupon he bade me daub away.
Thank you! my head being crammed, the walls a blank,
Never was such prompt disemburdening.
First, every sort of monk, the black and white,
I drew them, fat and lean: then, folk at church,
From good old gossips waiting to confess
Their cribs of barrel-droppings, candle-ends,--
To the breathless fellow at the altar-foot,
Fresh from his murder, safe and sitting there
With the little children round him in a row
Of admiration, half for his beard and half
For that white anger of his victim's son
Shaking a fist at him with one fierce arm,
Signing himself with the other because of Christ
(Whose sad face on the cross sees only this


After the passion of a thousand years)
Till some poor girl, her apron o'er her head,
(Which the intense eyes looked through) came at eve
On tiptoe, said a word, dropped in a loaf,
Her pair of earrings and a bunch of flowers
(The brute took growling), prayed, and so was gone.
I painted all, then cried " `T#is ask and have;
Choose, for more's ready!"--laid the ladder flat,
And showed my covered bit of cloister-wall.
The monks closed in a circle and praised loud
Till checked, taught what to see and not to see,
Being simple bodies,--"That's the very man!
Look at the boy who stoops to pat the dog!
That woman's like the Prior's niece who comes
To care about his asthma: it's the life!''
But there my triumph's straw-fire flared and funked;
Their betters took their turn to see and say:
The Prior and the learned pulled a face
And stopped all that in no time. "How? what's here?
Quite from the mark of painting, bless us all!
Faces, arms, legs, and bodies like the true
As much as pea and pea! it's devil's-game!
Your business is not to catch men with show,
With homage to the perishable clay,
But lift them over it, ignore it all,
Make them forget there's such a thing as flesh.
Your business is to paint the souls of men--
Man's soul, and it's a fire, smoke . . . no, it's not . . .
It's vapour done up like a new-born babe--
(In that shape when you die it leaves your mouth)
It's . . . well, what matters talking, it's the soul!
Give us no more of body than shows soul!
Here's Giotto, with his Saint a-praising God,
That sets us praising--why not stop with him?
Why put all thoughts of praise out of our head
With wonder at lines, colours, and what not?
Paint the soul, never mind the legs and arms!
Rub all out, try at it a second time.
Oh, that white smallish female with the breasts,
She's just my niece . . . Herodias, I would say,--
Who went and danced and got men's heads cut off!
Have it all out!" Now, is this sense, I ask?
A fine way to paint soul, by painting body
So ill, the eye can't stop there, must go further
And can't fare worse! Thus, yellow does for white
When what you put for yellow's simply black,
And any sort of meaning looks intense
When all beside itself means and looks nought.
Why can't a painter lift each foot in turn,
Left foot and right foot, go a double step,
Make his flesh liker and his soul more like,
Both in their order? Take the prettiest face,


The Prior's niece . . . patron-saint--is it so pretty
You can't discover if it means hope, fear,
Sorrow or joy? won't beauty go with these?
Suppose I've made her eyes all right and blue,
Can't I take breath and try to add life's flash,
And then add soul and heighten them three-fold?
Or say there's beauty with no soul at all--
(I never saw it--put the case the same--)
If you get simple beauty and nought else,
You get about the best thing God invents:
That's somewhat: and you'll find the soul you have missed,
Within yourself, when you return him thanks.
"Rub all out!" Well, well, there's my life, in short,
And so the thing has gone on ever since.
I'm grown a man no doubt, I've broken bounds:
You should not take a fellow eight years old
And make him swear to never kiss the girls.
I'm my own master, paint now as I please--
Having a friend, you see, in the Corner-house!
Lord, it's fast holding by the rings in front--
Those great rings serve more purposes than just
To plant a flag in, or tie up a horse!
And yet the old schooling sticks, the old grave eyes
Are peeping o'er my shoulder as I work,
The heads shake still--"It's art's decline, my son!
You're not of the true painters, great and old;
Brother Angelico's the man, you'll find;
Brother Lorenzo stands his single peer:
Fag on at flesh, you'll never make the third!"
Flower o' the pine,
You keep your mistr ... manners, and I'll stick to mine!
I'm not the third, then: bless us, they must know!
Don't you think they're the likeliest to know,
They with their Latin? So, I swallow my rage,
Clench my teeth, suck my lips in tight, and paint
To please them--sometimes do and sometimes don't;
For, doing most, there's pretty sure to come
A turn, some warm eve finds me at my saints--
A laugh, a cry, the business of the world--
(Flower o' the peach
Death for us all, and his own life for each!)
And my whole soul revolves, the cup runs over,
The world and life's too big to pass for a dream,
And I do these wild things in sheer despite,
And play the fooleries you catch me at,
In pure rage! The old mill-horse, out at grass
After hard years, throws up his stiff heels so,
Although the miller does not preach to him
The only good of grass is to make chaff.
What would men have? Do they like grass or no--
May they or mayn't they? all I want's the thing
Settled for ever one way. As it is,


You tell too many lies and hurt yourself:
You don't like what you only like too much,
You do like what, if given you at your word,
You find abundantly detestable.
For me, I think I speak as I was taught;
I always see the garden and God there
A-making man's wife: and, my lesson learned,
The value and significance of flesh,
I can't unlearn ten minutes afterwards.
You understand me: I'm a beast, I know.
But see, now--why, I see as certainly
As that the morning-star's about to shine,
What will hap some day. We've a youngster here
Comes to our convent, studies what I do,
Slouches and stares and lets no atom drop:
His name is Guidi--he'll not mind the monks--
They call him Hulking Tom, he lets them talk--
He picks my practice up--he'll paint apace.
I hope so--though I never live so long,
I know what's sure to follow. You be judge!
You speak no Latin more than I, belike;
However, you're my man, you've seen the world
--The beauty and the wonder and the power,
The shapes of things, their colours, lights and shades,
Changes, surprises,--and God made it all!
--For what? Do you feel thankful, ay or no,
For this fair town's face, yonder river's line,
The mountain round it and the sky above,
Much more the figures of man, woman, child,
These are the frame to? What's it all about?
To be passed over, despised? or dwelt upon,
Wondered at? oh, this last of course!--you say.
But why not do as well as say,--paint these
Just as they are, careless what comes of it?
God's works--paint any one, and count it crime
To let a truth slip. Don't object, "His works
Are here already; nature is complete:
Suppose you reproduce her--(which you can't)
There's no advantage! you must beat her, then."
For, don't you mark? we're made so that we love
First when we see them painted, things we have passed
Perhaps a hundred times nor cared to see;
And so they are better, painted--better to us,
Which is the same thing. Art was given for that;
God uses us to help each other so,
Lending our minds out. Have you noticed, now,
Your cullion's hanging face? A bit of chalk,
And trust me but you should, though! How much more,
If I drew higher things with the same truth!
That were to take the Prior's pulpit-place,
Interpret God to all of you! Oh, oh,
It makes me mad to see what men shall do


And we in our graves! This world's no blot for us,
Nor blank; it means intensely, and means good:
To find its meaning is my meat and drink.
"Ay, but you don't so instigate to prayer!"
Strikes in the Prior: "when your meaning's plain
It does not say to folk--remember matins,
Or, mind you fast next Friday!" Why, for this
What need of art at all? A skull and bones,
Two bits of stick nailed crosswise, or, what's best,
A bell to chime the hour with, does as well.
I painted a Saint Laurence six months since
At Prato, splashed the fresco in fine style:
"How looks my painting, now the scaffold's down?"
I ask a brother: "Hugely," he returns--
"Already not one phiz of your three slaves
Who turn the Deacon off his toasted side,
But's scratched and prodded to our heart's content,
The pious people have so eased their own
With coming to say prayers there in a rage:
We get on fast to see the bricks beneath.
Expect another job this time next year,
For pity and religion grow i' the crowd--
Your painting serves its purpose!" Hang the fools!
--That is--you'll not mistake an idle word
Spoke in a huff by a poor monk, God wot,
Tasting the air this spicy night which turns
The unaccustomed head like Chianti wine!
Oh, the church knows! don't misreport me, now!
It's natural a poor monk out of bounds
Should have his apt word to excuse himself:
And hearken how I plot to make amends.
I have bethought me: I shall paint a piece
... There's for you! Give me six months, then go, see
Something in Sant' Ambrogio's! Bless the nuns!
They want a cast o' my office. I shall paint
God in the midst, Madonna and her babe,
Ringed by a bowery, flowery angel-brood,
Lilies and vestments and white faces, sweet
As puff on puff of grated orris-root
When ladies crowd to Church at midsummer.
And then i' the front, of course a saint or two--
Saint John' because he saves the Florentines,
Saint Ambrose, who puts down in black and white
The convent's friends and gives them a long day,
And Job, I must have him there past mistake,
The man of Uz (and Us without the z,
Painters who need his patience). Well, all these
Secured at their devotion, up shall come
Out of a corner when you least expect,
As one by a dark stair into a great light,
Music and talking, who but Lippo! I!--
Mazed, motionless, and moonstruck--I'm the man!


Back I shrink--what is this I see and hear?
I, caught up with my monk's-things by mistake,
My old serge gown and rope that goes all round,
I, in this presence, this pure company!
Where's a hole, where's a corner for escape?
Then steps a sweet angelic slip of a thing
Forward, puts out a soft palm--"Not so fast!"
--Addresses the celestial presence, "nay--
He made you and devised you, after all,
Though he's none of you! Could Saint John there draw--
His camel-hair make up a painting brush?
We come to brother Lippo for all that,
Iste perfecit opus! So, all smile--
I shuffle sideways with my blushing face
Under the cover of a hundred wings
Thrown like a spread of kirtles when you're gay
And play hot cockles, all the doors being shut,
Till, wholly unexpected, in there pops
The hothead husband! Thus I scuttle off
To some safe bench behind, not letting go
The palm of her, the little lily thing
That spoke the good word for me in the nick,
Like the Prior's niece . . . Saint Lucy, I would say.
And so all's saved for me, and for the church
A pretty picture gained. Go, six months hence!
Your hand, sir, and good-bye: no lights, no lights!
The street's hushed, and I know my own way back,
Don't fear me! There's the grey beginning. Zooks!
491

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