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Title: Dramatic Romances
Author: Robert Browning
Release date: July 1, 2003 [eBook #4253]
Most recently updated: February 1, 2013
Language: English
Credits: Produced by Richard Adicks, and David Widger
*** START OF THE PROJECT GUTENBERG EBOOK DRAMATIC ROMANCES ***
DRAMATIC ROMANCES
FROM THE POETIC WORKS OF ROBERT BROWNING
By Robert Browning
Introduction and Notes: Charlotte Porter and Helen A. Clarke
From the edition of Browning's poems published by
Thomas Y. Crowell
and Company, New York, in 1898.
Transcriber's Note:
Stanza and section numbers have been moved to the left margin, and periods that follow them have been removed.
Periods have been omitted after Roman numerals in the titles of popes and nobles.
Quotation marks have been left only at the beginning and end of a multi-line quotation, and at the beginning of each stanza within the quotation, instead of at the beginning of every line, as in the printed text.
CONTENTS
INTRODUCTION
[The Dramatic Romances,...] enriched by some of the poems originally printed in Men and Women, and a few from Dramatic Lyrics as first printed, include some of Browning's finest and most characteristic work. In several of them the poet displays his familiarity with the life and spirit of the Renaissance—a period portrayed by him with a fidelity more real than history—for he enters into the feelings that give rise to action, while the historian is busied only with the results growing out of the moving force of feeling.
The egotism of the Ferrara husband outraged at the gentle wife because she is as gracious toward those who rendered her small courtesies, and seemed as thankful to them as she was to him for his gift of a nine-hundred-years-old name, opens up for inspection the heart of a husband at a time when men exercised complete control over their wives, and could satisfy their jealous, selfish instincts by any cruel methods they chose to adopt, with no one to say them "nay." The highly developed artistic sense shown by this husband is not incompatible with his consummate selfishness and cruelty, as many tales of that time might be brought forward to illustrate. The husband in "The Statue and the Bust" belongs to the same type, and the situation there is the inevitable outcome of a civilization in which women were not consulted as to whom they would marry, and naturally often fell a prey to love if it should come to them afterwards. Weakness of will in the case of the lovers in this poem wrecked their lives; for they were not strong enough to follow either duty or love. Another glimpse is caught of this period when husbands and brothers and fathers meted out what they considered justice to the women in "In a Gondola." "The Grammarian's Funeral" gives also an aspect of Renaissance life—the fervor for learning characteristic of the earlier days of the Renaissance when devoted pedants, as Arthur Symons says in referring to this poem, broke ground in the restoration to the modern world of the civilization and learning of ancient Greece and Rome. Again, "The Heretic's Tragedy" and "Holy-Cross Day" picture most vividly the methods resorted to by the dying church in its attempts to keep control of the souls of a humanity seething toward religious tolerance.
With only a small space at command, it is difficult to decide on the poems to be touched upon, especially where there is not one but would repay prolonged attention, due no less to the romantic interest of the stories, the marvellous penetration into human motives, the grasp of historical atmospheres, than to the originality and perfection of their artistry.
A word must be said of "The Flight of the Duchess" and "Childe Roland to the Dark Tower Came," both poems which have been productive of many commentaries, and both holding their own amid the bray [sic] of critics as unique and beautiful specimens of poetic art. Certainly no two poems could be chosen to show wider diversity in the poet's genius than these.
The story told by the huntsman in "The Flight of the Duchess" is interesting enough simply as a story, but the telling of it is inimitable. One can see before him the devoted, kindly man, somewhat clumsy of speech, as indicated by the rough rhymes, and characteristically drawing his illustrations from the calling he follows. Keen in his critical observation of the Duke and other members of the household, he, nevertheless, has a tender appreciation of the difficulties of the young Duchess in this unloving artificial environment.
When the Gypsy Queen sings her song through his memory of it, the rhymes and rhythm take on a befitting harmoniousness and smoothness contrasting finely with the remainder of the poem.
By means of this song, moreover, the horizon is enlarged beyond the immediate ken of the huntsman. The race-instinct, which has so strong a hold upon the Gypsies, is exalted into a wondrous sort of love which carries everything before it. This loving reality is also set over against the unloving artificiality of the first part of the poem. The temptation is too strong for the love-starved little Duchess, and even the huntsman and Jacinth come under her hypnotic spell.
Very different in effect is "Childe Roland to the Dark Tower Came." The one, rich in this lay of human emotion, couched in the simple language of reality; the other, a symbolic picture of the struggle and aspiration of the soul. Interpreters have tried to pin this latter poem down to the limits of an allegory, and find a specific meaning for every phrase and picture, but it has too much the quality of the modern symbolistic writing to admit of any treatment so prosaic. In this respect it resembles music. Each mind will draw from it an interpretation suited to its own attitude and experiences. Reduced to the simplest possible lines of interpretation, it symbolizes the inevitable fate which drives a truth-seeking soul to see the falsity of ideals once thought absolute, yet in the face of the ruin of those ideals courage toward the continuance of aspiration is never for a moment lost.
As a bit of art, it is strikingly imaginative, and suggests the picture-quality of the tapestried horse, which Browning himself says was the chief inspiration of the poem. It is a fine example of the way in which the "strange and winged" fancy of the poet may take its flight from so simple an object as this tapestried horse, evidently a sorry beast too, in its needled presentment, or the poetic impulse would not have expressed itself in the vindictive, "I never saw a horse [sic] I hated so."
INCIDENT OF THE FRENCH CAMP
I
You know, we French stormed Ratisbon:
A mile or so away,
On a little mound, Napoleon
Stood on our storming-day;
With neck out-thrust, you fancy how,
Legs wide, arms locked behind,
As if to balance the prone brow
Oppressive with its mind.
II
Just as perhaps he mused, "My plans
That soar, to earth may fall, 10
Let once my army-leader Lannes
Waver at yonder wall."
Out 'twixt the battery-smokes there flew
A rider, bound on bound
Full-galloping; nor bridle drew
Until he reached the mound.
III
Then off there flung in smiling joy,
And held himself erect
By just his horse's mane, a boy:
You hardly could suspect 20
(So tight he kept his lips compressed
Scarce any blood came through)
You looked twice ere you saw his breast
Was all but shot in two.
IV
"Well," cried he, "Emperor, by God's grace
"We've got you Ratisbon!
"The Marshal's in the market-place,
And you'll be there anon
To see your flag-bird flap his vans
Where I, to heart's desire, 30
Perched him—" The chief's eye flashed; his plans
Soared up again like fire.
V
The chief's eye flashed, but presently
Softened itself, as sheathes
A film the mother-eagle's-eye
When her bruised eaglet breathes,
"You're wounded!" "Nay," the soldier's pride
Touched to the quick, he said:
"I'm killed, Sire!" And his chief beside,
Smiling the boy fell dead. 40
NOTES:
"Incident of the French Camp." A story of modest heroism.
The incident related is said by Mrs. Orr to be a true one
of the siege of Ratisbon by Napoleon in 1809—except
that the real hero was a man.
I. Ratisbon: (German Regensburg), an ancient city
of Bavaria on the right bank of the Danube, has endured
seventeen sieges since the tenth century, the last one being
that of Napoleon, 1809.
II. Lannes: Duke of Montebello, one of Napoleon's generals.
You know, we French stormed Ratisbon:
A mile or so away,
On a little mound, Napoleon
Stood on our storming-day;
With neck out-thrust, you fancy how,
Legs wide, arms locked behind,
As if to balance the prone brow
Oppressive with its mind.
II
Just as perhaps he mused, "My plans
That soar, to earth may fall, 10
Let once my army-leader Lannes
Waver at yonder wall."
Out 'twixt the battery-smokes there flew
A rider, bound on bound
Full-galloping; nor bridle drew
Until he reached the mound.
III
Then off there flung in smiling joy,
And held himself erect
By just his horse's mane, a boy:
You hardly could suspect 20
(So tight he kept his lips compressed
Scarce any blood came through)
You looked twice ere you saw his breast
Was all but shot in two.
IV
"Well," cried he, "Emperor, by God's grace
"We've got you Ratisbon!
"The Marshal's in the market-place,
And you'll be there anon
To see your flag-bird flap his vans
Where I, to heart's desire, 30
Perched him—" The chief's eye flashed; his plans
Soared up again like fire.
V
The chief's eye flashed, but presently
Softened itself, as sheathes
A film the mother-eagle's-eye
When her bruised eaglet breathes,
"You're wounded!" "Nay," the soldier's pride
Touched to the quick, he said:
"I'm killed, Sire!" And his chief beside,
Smiling the boy fell dead. 40
NOTES:
"Incident of the French Camp." A story of modest heroism.
The incident related is said by Mrs. Orr to be a true one
of the siege of Ratisbon by Napoleon in 1809—except
that the real hero was a man.
I. Ratisbon: (German Regensburg), an ancient city
of Bavaria on the right bank of the Danube, has endured
seventeen sieges since the tenth century, the last one being
that of Napoleon, 1809.
II. Lannes: Duke of Montebello, one of Napoleon's generals.
THE PATRIOT
AN OLD STORY
I
It was roses, roses, all the way,
With myrtle mixed in my path like mad:
The house-roofs seemed to heave and sway,
The church-spires flamed, such flags they had,
A year ago on this very day.
II
The air broke into a mist with bells,
The old walls rocked with the crowd and cries.
Had I said, "Good folk, mere noise repels—
But give me your sun from yonder skies!"
They had answered, "And afterward, what else?" 10
III
Alack, it was I who leaped at the sun
To give it my loving friends to keep!
Nought man could do, have I left undone:
And you see my harvest, what I reap
This very day, now a year is run.
IV
There's nobody on the house-tops now—
Just a palsied few at the windows set;
For the best of the sight is, all allow,
At the Shambles' Gate—or, better yet,
By the very scaffold's foot, I trow. 20
V
I go in the rain, and, more than needs,
A rope cuts both my wrists behind;
And I think, by the feel, my forehead bleeds,
For they fling, whoever has a mind,
Stones at me for my year's misdeeds.
VI
Thus I entered, and thus I go!
In triumphs, people have dropped down dead.
"Paid by the world, what dost thou owe
Me?"—God might question; now instead,
'Tis God shall repay: I am safer so. 30
NOTES:
"The Patriot" is a hero's story of the reward and punishment
dealt him for his services within one year. To act
regardless of praise or blame, save God's, seems safer.
I
It was roses, roses, all the way,
With myrtle mixed in my path like mad:
The house-roofs seemed to heave and sway,
The church-spires flamed, such flags they had,
A year ago on this very day.
II
The air broke into a mist with bells,
The old walls rocked with the crowd and cries.
Had I said, "Good folk, mere noise repels—
But give me your sun from yonder skies!"
They had answered, "And afterward, what else?" 10
III
Alack, it was I who leaped at the sun
To give it my loving friends to keep!
Nought man could do, have I left undone:
And you see my harvest, what I reap
This very day, now a year is run.
IV
There's nobody on the house-tops now—
Just a palsied few at the windows set;
For the best of the sight is, all allow,
At the Shambles' Gate—or, better yet,
By the very scaffold's foot, I trow. 20
V
I go in the rain, and, more than needs,
A rope cuts both my wrists behind;
And I think, by the feel, my forehead bleeds,
For they fling, whoever has a mind,
Stones at me for my year's misdeeds.
VI
Thus I entered, and thus I go!
In triumphs, people have dropped down dead.
"Paid by the world, what dost thou owe
Me?"—God might question; now instead,
'Tis God shall repay: I am safer so. 30
NOTES:
"The Patriot" is a hero's story of the reward and punishment
dealt him for his services within one year. To act
regardless of praise or blame, save God's, seems safer.
MY LAST DUCHESS
Ferrara
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Fra Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
the curtain I have drawn for you, but I) 10
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Fra Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat"; such stuff
Was courtesy, she thought, and cause enough 20
For calling up that spot of joy. She had
A heart—how shall I say—too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech, 30
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech (which I have not) to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark"—and if she let
Herself be lessoned so, nor plainly set 40
Her wits to yours, forsooth, and made excuse,
E'en that would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence 50
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
NOTES:
"My Last Duchess" puts in the mouth of a Duke of Ferrara,
a typical husband and art patron of the Renaissance, a
description of his last wife, whose happy nature and universal
kindliness were a perpetual affront to his exacting
self-predominance, and whose suppression, by his command,
has made the vacancy he is now, in his interview
with the envoy for a new match, taking precaution to fill
more acceptably.
3. Fra Pandolf, and 56. Claus of Innsbruck, are imaginary.
That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Fra Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
the curtain I have drawn for you, but I) 10
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Fra Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat"; such stuff
Was courtesy, she thought, and cause enough 20
For calling up that spot of joy. She had
A heart—how shall I say—too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech, 30
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech (which I have not) to make your will
Quite clear to such an one, and say, "Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark"—and if she let
Herself be lessoned so, nor plainly set 40
Her wits to yours, forsooth, and made excuse,
E'en that would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence 50
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
NOTES:
"My Last Duchess" puts in the mouth of a Duke of Ferrara,
a typical husband and art patron of the Renaissance, a
description of his last wife, whose happy nature and universal
kindliness were a perpetual affront to his exacting
self-predominance, and whose suppression, by his command,
has made the vacancy he is now, in his interview
with the envoy for a new match, taking precaution to fill
more acceptably.
3. Fra Pandolf, and 56. Claus of Innsbruck, are imaginary.
COUNT GISMOND
AIX EN PROVENCE
I
Christ God who savest man, save most
Of men Count Gismond who saved me!
Count Gauthier, when he chose his post,
Chose time and place and company
To suit it; when he struck at length
My honour, 'twas with all his strength.
II
And doubtlessly ere he could draw
All points to one, he must have schemed!
That miserable morning saw
Few half so happy as I seemed, 10
While being dressed in queen's array
To give our tourney prize away.
III
I thought they loved me, did me grace
To please themselves; 'twas all their deed;
God makes, or fair or foul, our face;
If showing mine so caused to bleed
My cousins' hearts, they should have dropped
A word, and straight the play had stopped.
IV
They, too, so beauteous! Each a queen
By virtue of her brow and breast; 20
Not needing to be crowned, I mean,
As I do. E'en when I was dressed,
Had either of them spoke, instead
Of glancing sideways with still head!
V
But no: they let me laugh, and sing
My birthday song quite through, adjust
The last rose in my garland, fling
A last look on the mirror, trust
My arms to each an arm of theirs,
And so descend the castle-stairs— 30
VI
And come out on the morning-troop
Of merry friends who kissed my cheek,
And called me queen, and made me stoop
Under the canopy—a streak
That pierced it, of the outside sun,
Powdered with gold its gloom's soft dun—
VII
And they could let me take my state
And foolish throne amid applause
Of all come there to celebrate
My queen's-day—Oh I think the cause 40
Of much was, they forgot no crowd
Makes up for parents in their shroud!
VIII
However that be, all eyes were bent
Upon me, when my cousins cast
Theirs down; 'twas time I should present
The victor's crown, but... there, 'twill last
No long time... the old mist again
Blinds me as then it did. How vain!
IX
See! Gismond's at the gate, in talk
With his two boys: I can proceed. 50
Well, at that moment, who should stalk
Forth boldly—to my face, indeed—
But Gauthier, and he thundered "Stay!"
And all stayed. "Bring no crowns, I say!"
X
"Bring torches! Wind the penance-sheet
About her! Let her shun the chaste,
Or lay herself before their feet!
Shall she whose body I embraced
A night long, queen it in the day?
For honour's sake no crowns, I say!" 60
XI
I? What I answered? As I live,
I never fancied such a thing
As answer possible to give.
What says the body when they spring
Some monstrous torture-engine's whole
Strength on it? No more says the soul.
XII
Till out strode Gismond; then I knew
That I was saved. I never met
His face before, but, at first view,
I felt quite sure that God had set 70
Himself to Satan; who would spend
A minute's mistrust on the end?
XIII
He strode to Gauthier, in his throat
Gave him the lie, then struck his mouth
With one back-handed blow that wrote
In blood men's verdict there. North, South,
East, West, I looked. The lie was dead,
And damned, and truth stood up instead.
XIV
This glads me most, that I enjoyed
The heart of the joy, with my content 80
In watching Gismond unalloyed
By any doubt of the event:
God took that on him—I was bid
Watch Gismond for my part: I did.
XV
Did I not watch him while he let
His armourer just brace his greaves,
Rivet his hauberk, on the fret
The while! His foot... my memory leaves
No least stamp out, nor how anon
He pulled his ringing gauntlets on. 90
XVI
And e'en before the trumpet's sound
Was finished, prone lay the false knight,
Prone as his lie, upon the ground:
Gismond flew at him, used no sleight
O' the sword, but open-breasted drove,
Cleaving till out the truth he clove.
XVII
Which done, he dragged him to my feet
And said "Here die, but end thy breath
In full confession, lest thou fleet
From my first, to God's second death! 100
Say, hast thou lied?" And, "I have lied
To God and her," he said, and died.
XVIII
Then Gismond, kneeling to me, asked
What safe my heart holds, though no word
Could I repeat now, if I tasked
My powers for ever, to a third
Dear even as you are. Pass the rest
Until I sank upon his breast.
XIX
Over my head his arm he flung
Against the world; and scarce I felt 110
His sword (that dripped by me and swung)
A little shifted in its belt:
For he began to say the while
How South our home lay many a mile.
XX
So 'mid the shouting multitude
We two walked forth to never more
Return. My cousins have pursued
Their life, untroubled as before
I vexed them. Gauthier's dwelling-place
God lighten! May his soul find grace! 120
XXI
Our elder boy has got the clear
Great brow; tho' when his brother's black
Full eye shows scorn, it... Gismond here?
And have you brought my tercel back?
I just was telling Adela
How many birds it struck since May.
I
Christ God who savest man, save most
Of men Count Gismond who saved me!
Count Gauthier, when he chose his post,
Chose time and place and company
To suit it; when he struck at length
My honour, 'twas with all his strength.
II
And doubtlessly ere he could draw
All points to one, he must have schemed!
That miserable morning saw
Few half so happy as I seemed, 10
While being dressed in queen's array
To give our tourney prize away.
III
I thought they loved me, did me grace
To please themselves; 'twas all their deed;
God makes, or fair or foul, our face;
If showing mine so caused to bleed
My cousins' hearts, they should have dropped
A word, and straight the play had stopped.
IV
They, too, so beauteous! Each a queen
By virtue of her brow and breast; 20
Not needing to be crowned, I mean,
As I do. E'en when I was dressed,
Had either of them spoke, instead
Of glancing sideways with still head!
V
But no: they let me laugh, and sing
My birthday song quite through, adjust
The last rose in my garland, fling
A last look on the mirror, trust
My arms to each an arm of theirs,
And so descend the castle-stairs— 30
VI
And come out on the morning-troop
Of merry friends who kissed my cheek,
And called me queen, and made me stoop
Under the canopy—a streak
That pierced it, of the outside sun,
Powdered with gold its gloom's soft dun—
VII
And they could let me take my state
And foolish throne amid applause
Of all come there to celebrate
My queen's-day—Oh I think the cause 40
Of much was, they forgot no crowd
Makes up for parents in their shroud!
VIII
However that be, all eyes were bent
Upon me, when my cousins cast
Theirs down; 'twas time I should present
The victor's crown, but... there, 'twill last
No long time... the old mist again
Blinds me as then it did. How vain!
IX
See! Gismond's at the gate, in talk
With his two boys: I can proceed. 50
Well, at that moment, who should stalk
Forth boldly—to my face, indeed—
But Gauthier, and he thundered "Stay!"
And all stayed. "Bring no crowns, I say!"
X
"Bring torches! Wind the penance-sheet
About her! Let her shun the chaste,
Or lay herself before their feet!
Shall she whose body I embraced
A night long, queen it in the day?
For honour's sake no crowns, I say!" 60
XI
I? What I answered? As I live,
I never fancied such a thing
As answer possible to give.
What says the body when they spring
Some monstrous torture-engine's whole
Strength on it? No more says the soul.
XII
Till out strode Gismond; then I knew
That I was saved. I never met
His face before, but, at first view,
I felt quite sure that God had set 70
Himself to Satan; who would spend
A minute's mistrust on the end?
XIII
He strode to Gauthier, in his throat
Gave him the lie, then struck his mouth
With one back-handed blow that wrote
In blood men's verdict there. North, South,
East, West, I looked. The lie was dead,
And damned, and truth stood up instead.
XIV
This glads me most, that I enjoyed
The heart of the joy, with my content 80
In watching Gismond unalloyed
By any doubt of the event:
God took that on him—I was bid
Watch Gismond for my part: I did.
XV
Did I not watch him while he let
His armourer just brace his greaves,
Rivet his hauberk, on the fret
The while! His foot... my memory leaves
No least stamp out, nor how anon
He pulled his ringing gauntlets on. 90
XVI
And e'en before the trumpet's sound
Was finished, prone lay the false knight,
Prone as his lie, upon the ground:
Gismond flew at him, used no sleight
O' the sword, but open-breasted drove,
Cleaving till out the truth he clove.
XVII
Which done, he dragged him to my feet
And said "Here die, but end thy breath
In full confession, lest thou fleet
From my first, to God's second death! 100
Say, hast thou lied?" And, "I have lied
To God and her," he said, and died.
XVIII
Then Gismond, kneeling to me, asked
What safe my heart holds, though no word
Could I repeat now, if I tasked
My powers for ever, to a third
Dear even as you are. Pass the rest
Until I sank upon his breast.
XIX
Over my head his arm he flung
Against the world; and scarce I felt 110
His sword (that dripped by me and swung)
A little shifted in its belt:
For he began to say the while
How South our home lay many a mile.
XX
So 'mid the shouting multitude
We two walked forth to never more
Return. My cousins have pursued
Their life, untroubled as before
I vexed them. Gauthier's dwelling-place
God lighten! May his soul find grace! 120
XXI
Our elder boy has got the clear
Great brow; tho' when his brother's black
Full eye shows scorn, it... Gismond here?
And have you brought my tercel back?
I just was telling Adela
How many birds it struck since May.
NOTES:
"Count Gismond: Aix in Provence" illustrates, in the person
of the woman who relates to a friend an episode of her
own life, the power of innate purity to raise up for
her a defender when caught in the toils woven by
the unsuspected envy and hypocrisy of her cousins
and Count Gauthier, who attempt to bring dishonor
upon her, on her birthday, with the seeming intention
of honoring her. Her faith that the trial by combat
between Gauthier and Gismond must end in Gismond's
victory and her vindication reflects most truly, as Arthur
Symons has pointed out, the medieval atmosphere of
chivalrous France.
124. Tercel: a male falcon.
"Count Gismond: Aix in Provence" illustrates, in the person
of the woman who relates to a friend an episode of her
own life, the power of innate purity to raise up for
her a defender when caught in the toils woven by
the unsuspected envy and hypocrisy of her cousins
and Count Gauthier, who attempt to bring dishonor
upon her, on her birthday, with the seeming intention
of honoring her. Her faith that the trial by combat
between Gauthier and Gismond must end in Gismond's
victory and her vindication reflects most truly, as Arthur
Symons has pointed out, the medieval atmosphere of
chivalrous France.
124. Tercel: a male falcon.
THE BOY AND THE ANGEL
Morning, evening, noon and night,
"Praise God!" sang Theocrite.
Then to his poor trade he turned,
Whereby the daily meal was earned.
Hard he laboured, long and well;
O'er his work the boy's curls fell.
But ever, at each period,
He stopped and sang, "Praise God!"
Then back again his curls he threw,
And cheerful turned to work anew. 10
Said Blaise, the listening monk, "Well done;
I doubt not thou art heard, my son:
As well as if thy voice to-day
Were praising God, the Pope's great way.
This Easter Day, the Pope at Rome
Praises God from Peter's dome."
Said Theocrite, "Would God that I
Might praise him, that great way, and die!"
Night passed, day shone,
And Theocrite was gone. 20
With God a day endures alway,
A thousand years are but a day.
God said in heaven, "Nor day nor night
Now brings the voice of my delight."
Then Gabriel, like a rainbow's birth
Spread his wings and sank to earth;
.
Entered, in flesh, the empty cell,
Lived there, and played the craftsman well;
And morning, evening, noon and night,
Praised God in place of Theocrite. 30
And from a boy, to youth he grew:
The man put off the stripling's hue:
The man matured and fell away
Into the season of decay:
And ever o'er the trade he bent,
And ever lived on earth content.
(He did God's will; to him, all one
If on the earth or in the sun.)
God said, "A praise is in mine ear;
There is no doubt in it, no fear: 40
So sing old worlds, and so
New worlds that from my footstool go.
Clearer loves sound other ways:
I miss my little human praise."
Then forth sprang Gabriel's wings, off fell
The flesh disguise, remained the cell.
'Twas Easter Day: he flew to Rome,
And paused above Saint Peter's dome.
In the tiring-room close by
The great outer gallery, 50
With his holy vestments dight,
Stood the new Pope, Theocrite:
And all his past career
Came back upon him clear,
Since when, a boy, he plied his trade,
Till on his life the sickness weighed;
And in his cell, when death drew near,
An angel in a dream brought cheer:
And rising from the sickness drear
He grew a priest, and now stood here. 60
To the East with praise he turned,
And on his sight the angel burned.
"I bore thee from thy craftsman's cell
And set thee here; I did not well.
"Vainly I left my angel-sphere,
Vain was thy dream of many a year.
"Thy voice's praise seemed weak; it dropped—
Creation's chorus stopped!
"Go back and praise again
The early way, while I remain. 70
"With that weak voice of our disdain,
Take up creation's pausing strain.
"Back to the cell and poor employ:
Resume the craftsman and the boy!"
Theocrite grew old at home;
A new Pope dwelt in Peter's dome.
One vanished as the other died:
They sought God side by side.
NOTES:
"The Boy and the Angel." An imaginary legend illustrating
the worth of humble, human love to God, who missed in
the praise of the Pope, Theocrite, and of the Angel
Gabriel, the precious human quality in the song of the
poor boy, Theocrite.
"Praise God!" sang Theocrite.
Then to his poor trade he turned,
Whereby the daily meal was earned.
Hard he laboured, long and well;
O'er his work the boy's curls fell.
But ever, at each period,
He stopped and sang, "Praise God!"
Then back again his curls he threw,
And cheerful turned to work anew. 10
Said Blaise, the listening monk, "Well done;
I doubt not thou art heard, my son:
As well as if thy voice to-day
Were praising God, the Pope's great way.
This Easter Day, the Pope at Rome
Praises God from Peter's dome."
Said Theocrite, "Would God that I
Might praise him, that great way, and die!"
Night passed, day shone,
And Theocrite was gone. 20
With God a day endures alway,
A thousand years are but a day.
God said in heaven, "Nor day nor night
Now brings the voice of my delight."
Then Gabriel, like a rainbow's birth
Spread his wings and sank to earth;
.
Entered, in flesh, the empty cell,
Lived there, and played the craftsman well;
And morning, evening, noon and night,
Praised God in place of Theocrite. 30
And from a boy, to youth he grew:
The man put off the stripling's hue:
The man matured and fell away
Into the season of decay:
And ever o'er the trade he bent,
And ever lived on earth content.
(He did God's will; to him, all one
If on the earth or in the sun.)
God said, "A praise is in mine ear;
There is no doubt in it, no fear: 40
So sing old worlds, and so
New worlds that from my footstool go.
Clearer loves sound other ways:
I miss my little human praise."
Then forth sprang Gabriel's wings, off fell
The flesh disguise, remained the cell.
'Twas Easter Day: he flew to Rome,
And paused above Saint Peter's dome.
In the tiring-room close by
The great outer gallery, 50
With his holy vestments dight,
Stood the new Pope, Theocrite:
And all his past career
Came back upon him clear,
Since when, a boy, he plied his trade,
Till on his life the sickness weighed;
And in his cell, when death drew near,
An angel in a dream brought cheer:
And rising from the sickness drear
He grew a priest, and now stood here. 60
To the East with praise he turned,
And on his sight the angel burned.
"I bore thee from thy craftsman's cell
And set thee here; I did not well.
"Vainly I left my angel-sphere,
Vain was thy dream of many a year.
"Thy voice's praise seemed weak; it dropped—
Creation's chorus stopped!
"Go back and praise again
The early way, while I remain. 70
"With that weak voice of our disdain,
Take up creation's pausing strain.
"Back to the cell and poor employ:
Resume the craftsman and the boy!"
Theocrite grew old at home;
A new Pope dwelt in Peter's dome.
One vanished as the other died:
They sought God side by side.
NOTES:
"The Boy and the Angel." An imaginary legend illustrating
the worth of humble, human love to God, who missed in
the praise of the Pope, Theocrite, and of the Angel
Gabriel, the precious human quality in the song of the
poor boy, Theocrite.
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. 10
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, 20
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! 30
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. 40
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? 50
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. 60
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, 70
Stood erect, caught at God's skirts, and prayed!
—So, I was afraid!
NOTES:
"Instans Tyrannus" is a despot's confession of one of his
own experiences which showed him the inviolability of the
weakest man who is in the right and who can call the
spiritual force of good to his aid against the utmost violence
or cunning.—"Instans Tyrannus," or the threatening tyrant,
suggested by Horace, third Ode in Book III:
"Justum et tenacem proposti vlrum,
Non civium ardor prava jubentium,
Non vultus instantis tyranni," etc.
[The just man tenacious of purpose is not to be turned
aside by the heat of the populace nor the brow of the
threatening tyrant.]
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. 10
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, 20
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! 30
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. 40
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? 50
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. 60
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, 70
Stood erect, caught at God's skirts, and prayed!
—So, I was afraid!
NOTES:
"Instans Tyrannus" is a despot's confession of one of his
own experiences which showed him the inviolability of the
weakest man who is in the right and who can call the
spiritual force of good to his aid against the utmost violence
or cunning.—"Instans Tyrannus," or the threatening tyrant,
suggested by Horace, third Ode in Book III:
"Justum et tenacem proposti vlrum,
Non civium ardor prava jubentium,
Non vultus instantis tyranni," etc.
[The just man tenacious of purpose is not to be turned
aside by the heat of the populace nor the brow of the
threatening tyrant.]
MESMERISM
I
All I believed is true!
I am able yet
All I want, to get
By a method as strange as new:
Dare I trust the same to you?
II
If at night, when doors are shut,
And the wood-worm picks,
And the death-watch ticks,
And the bar has a flag of smut,
And a cat's in the water-butt— 10
III
And the socket floats and flares,
And the house-beams groan,
And a foot unknown
Is surmised on the garret-stairs,
And the locks slip unawares—
IV
And the spider, to serve his ends,
By a sudden thread,
Arms and legs outspread,
On the table's midst descends,
Comes to find, God knows what friends!— 20
V
If since eve drew in, I say,
I have sat and brought
(So to speak) my thought
To bear on the woman away,
Till I felt my hair turn grey—
VI
Till I seemed to have and hold,
In the vacancy
'Twixt the wall and me,
From the hair-plait's chestnut gold
To the foot in its muslin fold— 30
VII
Have and hold, then and there,
Her, from head to foot
Breathing and mute,
Passive and yet aware,
In the grasp of my steady stare—
VIII
Hold and have, there and then,
All her body and soul
That completes my whole,
All that women add to men,
In the clutch of my steady ken— 40
IX
Having and holding, till
I imprint her fast
On the void at last
As the sun does whom he will
By the calotypist's skill—
X
Then,—if my heart's strength serve,
And through all and each
Of the veils I reach
To her soul and never swerve,
Knitting an iron nerve— 50
XI
Command her soul to advance
And inform the shape
Which has made escape
And before my countenance
Answers me glance for glance—
XII
I, still with a gesture fit
Of my hands that best
Do my soul's behest,
Pointing the power from it,
While myself do steadfast sit— 60
XIII
Steadfast and still the same
On my object bent,
While the hands give vent
To my ardour and my aim
And break into very flame—
XIV
Then I reach, I must believe,
Not her soul in vain,
For to me again
It reaches, and past retrieve
Is wound in the toils I weave; 70
XV
And must follow as I require,
As befits a thrall,
Bringing flesh and all,
Essence and earth-attire
To the source of the tractile fire:
XVI
Till the house called hers, not mine,
With a growing weight
Seems to suffocate
If she break not its leaden line
And escape from its close confine. 80
XVII
Out of doors into the night!
On to the maze
Of the wild wood-ways,
Not turning to left nor right
From the pathway, blind with sight—
XVIII
Making thro' rain and wind
O'er the broken shrubs,
'Twixt the stems and stubs,
With a still, composed, strong mind,
Nor a care for the world behind— 90
XIX
Swifter and still more swift,
As the crowding peace
Doth to joy increase
In the wide blind eyes uplift
Thro' the darkness and the drift!
XX
While I—to the shape, I too
Feel my soul dilate
Nor a whit abate,
And relax not a gesture due,
As I see my belief come true. 100
XXI
For, there! have I drawn or no
Life to that lip?
Do my fingers dip
In a flame which again they throw
On the cheek that breaks a-glow?
XXII
Ha! was the hair so first?
What, unfilleted,
Made alive, and spread
Through the void with a rich outburst,
Chestnut gold-interspersed? 110
XXIII
Like the doors of a casket-shrine,
See, on either side,
Her two arms divide
Till the heart betwixt makes sign,
Take me, for I am thine!
XXIV
"Now—now"—the door is heard!
Hark, the stairs! and near—
Nearer—and here—
"Now!" and at call the third
She enters without a word. 120
XXV
On doth she march and on
To the fancied shape;
It is, past escape,
Herself, now: the dream is done
And the shadow and she are one.
XXVI
First I will pray. Do Thou
That ownest the soul,
Yet wilt grant control
To another, nor disallow
For a time, restrain me now! 130
XXVII
I admonish me while I may,
Not to squander guilt,
Since require Thou wilt
At my hand its price one day!
What the price is, who can say?
NOTES:
"Mesmerism." With a continuous tension of will, whose
unbroken concentration impregnates the very structure of
the poem, a mesmerist describes the processes of the act
by which he summons shape and soul of the woman he
desires; and then reverent perception of the sacredness
of the soul awes him from trespassing upon another's
individuality.
All I believed is true!
I am able yet
All I want, to get
By a method as strange as new:
Dare I trust the same to you?
II
If at night, when doors are shut,
And the wood-worm picks,
And the death-watch ticks,
And the bar has a flag of smut,
And a cat's in the water-butt— 10
III
And the socket floats and flares,
And the house-beams groan,
And a foot unknown
Is surmised on the garret-stairs,
And the locks slip unawares—
IV
And the spider, to serve his ends,
By a sudden thread,
Arms and legs outspread,
On the table's midst descends,
Comes to find, God knows what friends!— 20
V
If since eve drew in, I say,
I have sat and brought
(So to speak) my thought
To bear on the woman away,
Till I felt my hair turn grey—
VI
Till I seemed to have and hold,
In the vacancy
'Twixt the wall and me,
From the hair-plait's chestnut gold
To the foot in its muslin fold— 30
VII
Have and hold, then and there,
Her, from head to foot
Breathing and mute,
Passive and yet aware,
In the grasp of my steady stare—
VIII
Hold and have, there and then,
All her body and soul
That completes my whole,
All that women add to men,
In the clutch of my steady ken— 40
IX
Having and holding, till
I imprint her fast
On the void at last
As the sun does whom he will
By the calotypist's skill—
X
Then,—if my heart's strength serve,
And through all and each
Of the veils I reach
To her soul and never swerve,
Knitting an iron nerve— 50
XI
Command her soul to advance
And inform the shape
Which has made escape
And before my countenance
Answers me glance for glance—
XII
I, still with a gesture fit
Of my hands that best
Do my soul's behest,
Pointing the power from it,
While myself do steadfast sit— 60
XIII
Steadfast and still the same
On my object bent,
While the hands give vent
To my ardour and my aim
And break into very flame—
XIV
Then I reach, I must believe,
Not her soul in vain,
For to me again
It reaches, and past retrieve
Is wound in the toils I weave; 70
XV
And must follow as I require,
As befits a thrall,
Bringing flesh and all,
Essence and earth-attire
To the source of the tractile fire:
XVI
Till the house called hers, not mine,
With a growing weight
Seems to suffocate
If she break not its leaden line
And escape from its close confine. 80
XVII
Out of doors into the night!
On to the maze
Of the wild wood-ways,
Not turning to left nor right
From the pathway, blind with sight—
XVIII
Making thro' rain and wind
O'er the broken shrubs,
'Twixt the stems and stubs,
With a still, composed, strong mind,
Nor a care for the world behind— 90
XIX
Swifter and still more swift,
As the crowding peace
Doth to joy increase
In the wide blind eyes uplift
Thro' the darkness and the drift!
XX
While I—to the shape, I too
Feel my soul dilate
Nor a whit abate,
And relax not a gesture due,
As I see my belief come true. 100
XXI
For, there! have I drawn or no
Life to that lip?
Do my fingers dip
In a flame which again they throw
On the cheek that breaks a-glow?
XXII
Ha! was the hair so first?
What, unfilleted,
Made alive, and spread
Through the void with a rich outburst,
Chestnut gold-interspersed? 110
XXIII
Like the doors of a casket-shrine,
See, on either side,
Her two arms divide
Till the heart betwixt makes sign,
Take me, for I am thine!
XXIV
"Now—now"—the door is heard!
Hark, the stairs! and near—
Nearer—and here—
"Now!" and at call the third
She enters without a word. 120
XXV
On doth she march and on
To the fancied shape;
It is, past escape,
Herself, now: the dream is done
And the shadow and she are one.
XXVI
First I will pray. Do Thou
That ownest the soul,
Yet wilt grant control
To another, nor disallow
For a time, restrain me now! 130
XXVII
I admonish me while I may,
Not to squander guilt,
Since require Thou wilt
At my hand its price one day!
What the price is, who can say?
NOTES:
"Mesmerism." With a continuous tension of will, whose
unbroken concentration impregnates the very structure of
the poem, a mesmerist describes the processes of the act
by which he summons shape and soul of the woman he
desires; and then reverent perception of the sacredness
of the soul awes him from trespassing upon another's
individuality.
THE GLOVE
(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!" 10
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, 20
Increased by new followers tenfold
Before he 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 30
And shelved to the chamber secluded
Where Bluebeard, the great lion, brooded.
The King hailed 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, 40
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
Illum Juda Leonem de Tribu. 50
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, 60
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 70
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: 80
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 fluttered,
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. 90
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
Ne'er 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? 100
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,— 110
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? 120
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, 130
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, 140
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 150
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 160
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. 170
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 180
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. 190
NOTES:
"The Glove" gives a transcript from Court life, in Paris,
under Francis I. In making Ronsard the mouthpiece for
a deeper observation of the meaning of the incident he is
supposed to witness and describe than Marot and the rest
saw, characteristic differences between these two poets of
the time are brought out, the genuineness of courtly love
and chivalry is tested, and to the original story of the glove
is added a new view of the lady's character; a sketch of
her humbler and truer lover, and their happiness; and a
pendent scene showing the courtier De Lorges, having
won a beauty for his wife, in the ignominious position of
assisting the king to enjoy her favors and of submitting to
pleasantries upon his discomfiture. The original story as
told by Poullain de St. Croix in his Essais Historiques sur
Paris ran thus: "One day whilst Francis I amused himself
with looking at a combat between his lions, a lady,
having let her glove drop, said to De Lorges, 'If you
would have me believe that you love me as much as you
swear you do, go and bring back my glove.' De Lorges
went down, picked up the glove from amidst the ferocious
beasts, returned, and threw it in the lady's face; and in
spite of all her advances and cajoleries would never look
at her again.'' Schiller running across this anecdote of
St. Croix, in 1797, as he writes Goethe, wrote a poem
on it which adds nothing to the story. Leigh Hunt's
'The Glove and the Lions' adds some traits. It characterizes
the lady as shallow and vain, with smiles and
eyes which always seem'd the same.'' She calculates
since "king, ladies, lovers, all look on," that "the occasion
is divine" to drop her glove and "prove his love,
then look at him and smile"; and after De Lorges has
returned and thrown the glove, "but not with love, right
in the lady's face,'' Hunt makes the king rise and swear
"rightly done! No love, quoth he, but vanity, sets love
a task like that!'' This is the material Browning worked
on; he makes use of this speech of the king's, but remodels
the lady's character wholly, and gives her an appreciative
lover, and also a keen-eyed young poet to tell her
story afresh and to reveal through his criticism the narrowness
of the Court and the Court poets.
12. Naso: Ovid. Love of the classics and curiosity as
to human nature were both characteristic of Peter Ronsard
(1524-1585), at one time page to Francis I, the
most erudite and original of French medieval poets.
45. Clement Marot: (1496-1544), Court poet to Francis I.
His nature and verse were simpler than Ronsard's,
and he belonged more peculiarly to his own day.
48. Versifies David: Marot was suspected of Protestant
leanings which occasioned his imprisonment twice, and put
him in need of the protection Francis and his sister gave
him. Among his works were sixty-five epistles addressed
to grandees, attesting his courtiership, and the paraphrase
of forty-nine of the Psalms to which Ronsard alludes.
50. Illum Juda, etc.: that lion of the tribe of Judah.
89. Venienti, etc.: Meet the coming disease; that is,
if evil be anticipated, don't wait till it seizes you, but
dare to assure yourself and then forestall it as the lady did.
190. Theorbo: an old Italian stringed instrument such as
pages used.
"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!" 10
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, 20
Increased by new followers tenfold
Before he 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 30
And shelved to the chamber secluded
Where Bluebeard, the great lion, brooded.
The King hailed 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, 40
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
Illum Juda Leonem de Tribu. 50
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, 60
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 70
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: 80
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 fluttered,
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. 90
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
Ne'er 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? 100
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,— 110
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? 120
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, 130
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, 140
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 150
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 160
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. 170
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 180
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. 190
NOTES:
"The Glove" gives a transcript from Court life, in Paris,
under Francis I. In making Ronsard the mouthpiece for
a deeper observation of the meaning of the incident he is
supposed to witness and describe than Marot and the rest
saw, characteristic differences between these two poets of
the time are brought out, the genuineness of courtly love
and chivalry is tested, and to the original story of the glove
is added a new view of the lady's character; a sketch of
her humbler and truer lover, and their happiness; and a
pendent scene showing the courtier De Lorges, having
won a beauty for his wife, in the ignominious position of
assisting the king to enjoy her favors and of submitting to
pleasantries upon his discomfiture. The original story as
told by Poullain de St. Croix in his Essais Historiques sur
Paris ran thus: "One day whilst Francis I amused himself
with looking at a combat between his lions, a lady,
having let her glove drop, said to De Lorges, 'If you
would have me believe that you love me as much as you
swear you do, go and bring back my glove.' De Lorges
went down, picked up the glove from amidst the ferocious
beasts, returned, and threw it in the lady's face; and in
spite of all her advances and cajoleries would never look
at her again.'' Schiller running across this anecdote of
St. Croix, in 1797, as he writes Goethe, wrote a poem
on it which adds nothing to the story. Leigh Hunt's
'The Glove and the Lions' adds some traits. It characterizes
the lady as shallow and vain, with smiles and
eyes which always seem'd the same.'' She calculates
since "king, ladies, lovers, all look on," that "the occasion
is divine" to drop her glove and "prove his love,
then look at him and smile"; and after De Lorges has
returned and thrown the glove, "but not with love, right
in the lady's face,'' Hunt makes the king rise and swear
"rightly done! No love, quoth he, but vanity, sets love
a task like that!'' This is the material Browning worked
on; he makes use of this speech of the king's, but remodels
the lady's character wholly, and gives her an appreciative
lover, and also a keen-eyed young poet to tell her
story afresh and to reveal through his criticism the narrowness
of the Court and the Court poets.
12. Naso: Ovid. Love of the classics and curiosity as
to human nature were both characteristic of Peter Ronsard
(1524-1585), at one time page to Francis I, the
most erudite and original of French medieval poets.
45. Clement Marot: (1496-1544), Court poet to Francis I.
His nature and verse were simpler than Ronsard's,
and he belonged more peculiarly to his own day.
48. Versifies David: Marot was suspected of Protestant
leanings which occasioned his imprisonment twice, and put
him in need of the protection Francis and his sister gave
him. Among his works were sixty-five epistles addressed
to grandees, attesting his courtiership, and the paraphrase
of forty-nine of the Psalms to which Ronsard alludes.
50. Illum Juda, etc.: that lion of the tribe of Judah.
89. Venienti, etc.: Meet the coming disease; that is,
if evil be anticipated, don't wait till it seizes you, but
dare to assure yourself and then forestall it as the lady did.
190. Theorbo: an old Italian stringed instrument such as
pages used.