Men and Women - Robert Browning (ink book reader .TXT) 📗

of such remedies. A certain spider applied in a piece of cloth, or another one ('a white spider with very elongated thin legs'), beaten up in oil is said by this ancient writer upon Natural History to form an ointment for the eyes. Similarly, 'the thick pulp of a spider's body, mixed with the oil of roses, is used for the ears.' Sir Matthew Lister, who was indeed the father of English araneology, is quoted in Dr. James's Medical Dictionary as using the distilled water of boiled black spiders as an excellent cure for wounds." (Dr. H. C. McCook in Poet-lore, Nov., 1889.)

53. Gum-tragacanth: yielded by the leguminous shrub, Astragalus tragacantha.

60. Zoar: the only one that was spared of the five cities of the plain (Genesis 14. 2).

108. Lazarus . . . fifty years of age: in The Academy, Sept. 16, 1896, Dr. Richard Garnett says: "Browning commits an oversight, it seems to me, in making Lazarus fifty years of age at the eve of the siege of Jerusalem, circa 68 A. D." The miracle is supposed to have been wrought about 33 A. D., and Lazarus would then have been only fifteen, although according to tradition he was thirty when he was raised from the dead, and lived only thirty years after. Upon this Prof. Charles B. Wright comments in Poet-lore, April, 1897: "I incline to think that the oversight is not Browning's. Let us stand by the tradition and the resulting age of sixty-five. . . . Karshish is simply stating his professional judgment. Lazarus is given an age suited to his appearance—he seems a man of fifty. The years have touched him lightly since 'heaven opened to his soul.' . . . And that marvellous physical freshness deceives the very leech himself."

177. Greek fire: used by the Byzantine Greeks in warfare, first against the Saracens at the siege of Constantinople in 673 A. D. Therefore an anachronism in this poem. Liquid fire was, however, known to the ancients, as Assyrian bas-reliefs testify. Greek fire was made possibly of naphtha, saltpetre, and sulphur, and was thrown upon the enemy from copper tubes; or pledgets of tow were dipped in it and attached to arrows.

281. Blue-flowering borage: (Borago officianalis). The ancients deemed this plant one of the four "cordial flowers," for cheering the spirits, the others being the rose, violet, and alkanet. Pliny says it produces very exhilarating effects.

JOHANNES AGRICOLA IN MEDITATION

1842

There's heaven above, and night by night
  I look right through its gorgeous roof;
No suns and moons though e'er so bright
  Avail to stop me; splendor-proof
  I keep the broods of stars aloof:
For I intend to get to God,
  For 't is to God I speed so fast,
For in God's breast, my own abode,
  Those shoals of dazzling glory, passed,
  I lay my spirit down at last. 10
I lie where I have always lain,
  God smiles as he has always smiled;
Ere suns and moons could wax and wane,
  Ere stars were thundergirt, or piled
  The heavens, God thought on me his child;
Ordained a life for me, arrayed
  Its circumstances every one
To the minutest; ay, God said
  This head this hand should rest upon
  Thus, ere he fashioned star or sun. 20
And having thus created me,
  Thus rooted me, he bade me grow,
Guiltless forever, like a tree
  That buds and blooms, nor seeks to know
  The law by which it prospers so:
But sure that thought and word and deed
  All go to swell his love for me,
Me, made because that love had need
  Of something irreversibly
  Pledged solely its content to be. 30
Yes, yes, a tree which must ascend,
  No poison-gourd foredoomed to stoop!
I have God's warrant, could I blend
  All hideous sins, as in a cup,
  To drink the mingled venoms up;
Secure my nature will convert
  The draught to blossoming gladness fast:
While sweet dews turn to the gourd's hurt,
  And bloat, and while they bloat it, blast,
  As from the first its lot was cast. 40
For as I lie, smiled on, full-fed
  By unexhausted power to bless,
I gaze below on hell's fierce bed,
  And those its waves of flame oppress,
  Swarming in ghastly wretchedness;
Whose life on earth aspired to be
  One altar-smoke, so pure!—to win
If not love like God's love for me,
  At least to keep his anger in;
  And all their striving turned to sin. 50
Priest, doctor, hermit, monk grown white
  With prayer, the broken-hearted nun,
The martyr, the wan acolyte,
  The incense-swinging child—undone
  Before God fashioned star or sun!
God, whom I praise; how could I praise,
  If such as I might understand,
Make out and reckon on his ways,
  And bargain for his love, and stand,
Paying a price, at his right hand? 60

NOTES

"Johannes Agricola in Meditation" presents the doctrine of predestination as it appears to a devout and poetic soul whose conviction of the truth of such a doctrine has the strength of a divine revelation. Those elected for God's love can do nothing to weaken it, those not elected can do nothing to gain it, but it is not his to reason why; indeed, he could not praise a god whose ways he could understand or for whose love he had to bargain.

Johannes Agricola: (1492-1566), Luther's secretary, 1519, afterward in conflict with him, and author of the doctrine called by Luther antinomian, because it rejected the Law of the Old Testament as of no use under the Gospel dispensation. In a note accompanying the first publication of this poem, Browning quotes from "The Dictionary of All Religions" (1704): "They say that good works do not further, nor evil works hinder salvation; that the child of God cannot sin, that God never chastiseth him, that murder, drunkenness, etc., are sins in the wicked but not in him, that the child of grace being once assured of salvation, afterwards never doubteth . . . that God doth not love any man for his holiness, that sanctification is no evidence of justification." Though many antinomians taught thus, says George Willis Cooke in his "Browning Guide Book," it does not correctly represent the position of Agricola, who in reality held moral obligations to be incumbent upon the Christian, but for guidance in these he found in the New Testament all the principles and motives necessary.

PICTOR IGNOTUS FLORENCE, 15-

1845

I could have painted pictures like that youth's
  Ye praise so. How my soul springs up! No bar
Stayed me—ah, thought which saddens while it soothes!
  —Never did fate forbid me, star by star,
To outburst on your night with all my gift
  Of fires from God: nor would my flesh have shrunk
From seconding my soul, with eyes uplift
  And wide to heaven, or, straight like thunder, sunk
To the centre, of an instant; or around
  Turned calmly and inquisitive, to scan 10
The license and the limit, space and bound,
  Allowed to truth made visible in man.
And, like that youth ye praise so, all I saw,
  Over the canvas could my hand have flung,
Each face obedient to its passion's law,
  Each passion clear proclaimed without a tongue;
Whether Hope rose at once in all the blood,
  A-tiptoe for the blessing of embrace,
Or Rapture drooped the eyes, as when her brood
  Pull down the nesting dove's heart to its place; 20
Or Confidence lit swift the forehead up,
  And locked the mouth fast, like a castle braved—
0 human faces, hath it spilt, my cup?
  What did ye give me that I have not saved?
Nor will I say I have not dreamed (how well!)
  Of going—I, in each new picture—forth,
As, making new hearts beat and bosoms swell,
  To Pope or Kaiser, East, West, South, or North,
Bound for the calmly-satisfied great State,
  Or glad aspiring little burgh, it went, 30
Flowers cast upon the car which bore the freight,
  Through old streets named afresh from the event,
Till it reached home, where learned age should greet
  My face, and youth, the star not yet distinct
Above his hair, lie learning at my feet!—
  Oh, thus to live, I and my picture, linked
With love about, and praise, till life should end,
  And then not go to heaven, but linger here,
Here on my earth, earth's every man my friend—
  The thought grew frightful, 't was so wildly dear! 40
But a voice changed it. Glimpses of such sights
  Have scared me, like the revels through a door
Of some strange house of idols at its rites!
  This world seemed not the world it was before:
Mixed with my loving trusting ones, there trooped
  . . . Who summoned those cold faces that begun
To press on me and judge me? Though I stooped
  Shrinking, as from the soldiery a nun,
They drew me forth, and spite of me . . . enough!
  These buy and sell our pictures, take and give, 50
Count them for garniture and household-stuff,
  And where they live needs must our pictures live
And see their faces, listen to their prate,
  Partakers of their daily pettiness,
Discussed of—"This I love, or this I hate,
  This likes me more, and this affects me less!"
Wherefore I chose my portion. If at whiles
  My heart sinks, as monotonous I paint
These endless cloisters and eternal aisles
  With the same series. Virgin, Babe and Saint, 60
With the same cold calm beautiful regard—
  At least no merchant traffics in my heart;
The sanctuary's gloom at least shall ward
  Vain tongues from where my pictures stand apart;
Only prayer breaks the silence of the shrine
  While, blackening in the daily candle-smoke,
They moulder on the damp wall's travertine,
  'Mid echoes the light footstep never woke.
So, die my pictures! surely, gently die!
  O youth, men praise so—holds their praise its worth? 70
Blown harshly, keeps the trump its golden cry?
  Tastes sweet the water with such specks of earth?

NOTES

"Pictor Ignotus" is a reverie characteristic of a monastic painter of the Renaissance who recognizes, in the genius of a youth whose pictures are praised, a gift akin to his own, but which he has never so exercised, spite of the joy such free human expression and recognition of his power would have given him, because he could not bear to submit his art to worldly contact. So he has chosen to sink his name in unknown service to the Church, and to devote his fancy to pure and beautiful but cold and monotonous repetitions of sacred themes. His gentle regret that his own pictures will moulder unvisited is half wonderment that the youth can endure the sullying of his work by secular fame.

67. Travertine: a white limestone, the name being a corruption of <Tiburtinus>, from <Tibur> , now Tivoli, near Rome, whence this stone comes.

FRA LIPPO LIPPI

1855

1 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, 10
<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 .