Robert Browning

“ Speak from every mouth,—the speech, a poem.
Hardly shall I tell my joys and sorrows,
Hopes and fears, belief and disbelieving:
I am mine and yours—the rest be all men’s,
Karshish, Cleon, Norbert and the fifty.
Let me speak this once in my true person,
Not as Lippo, Roland or Andrea,
Though the fruit of speech be just this sentence—
Pray you, look on these my men and women,
Take and keep my fifty poems finished;
Where my heart lies, let my brain lie also!
Poor the speech; be how I speak, for all things.
XV.
Not but that you know me! ”

“ There shall never be one lost good! What was, shall live as before;
The evil is null, is nought, is silence implying sound;
What was good, shall be good, with, for evil, so much good more;
On the earth the broken arcs; in the heaven, a perfect round. ”

“ Not its semblance, but itself; no beauty, nor good, nor power
Whose voice has gone forth, but each survives for the melodist,
When eternity affirms the conception of an hour.
The high that proved too high, the heroic for earth too hard,
The passion that left the ground to lose itself in the sky,
Are music sent up to God by the lover and the bard ”

“ Dante, poet for the world, prepares for once to paint an angel for his dearest. But, alas! he is hindered by the breaking in of some “people of importance” of the city, the sort of people who served as character models for “the folk of his Inferno” (5-7) .
There would evidently be less of art and more of nature in such an outpouring of soul; and, therefore, the true artist would long to do it “once, and only once, and for one only.” ”

“ Burns, Shelley, were with us,—they watch from their graves!
He alone breaks from the van and the freemen,
He alone sinks to the rear and the slaves!
II.
We shall march prospering,—not thro’ his presence;
Songs may inspirit us,—not from his lyre;
Deeds will be done,—while he boasts his quiescence,
Still bidding crouch whom the rest bade aspire:
Blot out his name, then, record one lost soul more,
One task more declined, one more footpath untrod,
One more devil’s-triumph and sorrow for angels,
One more wrong to man, one more insult to God!
35Life’s night begins: let him never come back to us! ”

“ Agnosticism has little mercy at his hands; if a man knows anything at all, he knows God. And the God whom he knows is not a God apart, looking down from some infinite or indefinite height upon the world, but one in whom all live and move and have their being. Out of this springs, of course, the hope of immortality, and also that bright and cheerful view of life so completely opposed to the dark pessimism to which much of the unbelieving speculation of the present day so painfully tends. The dark things of human life and destiny are by no means ignored ”

“ O Saul, it shall be
“A Face like my face that receives thee; a Man like to me,
“Thou shalt love and be loved by, for ever: a Hand like this hand
“Shall throw open the gates of new life to thee! See the Christ stand!”
XIX.
I know not too well how I found my way home in the night.
There were witnesses, cohorts about me, to left and to right,
Angels, powers, the unuttered, unseen, the alive, the aware:
I repressed, I got through them as hardly, as strugglingly there,
As a runner beset by the populace famished for news—
Life or death. The whole earth was awakened, hell loosed with her crews ”

“ Stanza 16, consisting of one line, is the hinge of the entire poem; for David has just reached the point where, after several unsuccessful, or very partially successful, attempts—first, by playing one and another and another tune, which might awaken some chord in the apathetic spirit of the king, and then by singing, accompanied by the harp, first, of the joy of life, then of the splendid results of a royal life like Saul’s in the great future of the world—he at last, the truth coming upon him, strikes the high key where full relief is found. ”

“ Stanza 18.—Impossible! God is the giver: all that I have—Love, as well as everything else—is from him; I can wish, but cannot will the thing I would; but God can, therefore God will; his love cannot be frustrated as mine is; it must even for such as “Saul, the failure, the ruin he seems now,” find Salvation; being infinite it must have its will, and find a way, however hard it be (see the striking line “it is by no breath,” &c.) ”

“ Hence it is that his poetry is so thoroughly and profoundly spiritual, and so exceedingly valuable as a counteractive to the materialism of the age, which ever tends to merge the soul in the body, and swallow up the real in mere phenomena.
As might be expected of one who deals so profoundly with all that he touches, the great reality of the universe to him is God. ”

“ This is a poem which should be read over and over till the music of it has fairly entered the soul.
It has become common now to speak slightingly of those representations of heaven which make large use of music to give them body in our thought, as if the idea intended to be conveyed were that the joy of heaven was to consist in an endless idle singing, a concert without a finale ”

“ So, I was afraid! “Instans Tyrannus,” the present tyrant, the tyrant for the time only, whose apparently illimitable power to hurt shrivels into nothing in presence of the King of kings, whose dominion is everlasting.
The poor victim of this tyrant’s oppression is a true child of God, but the nobility of his inner life is of course concealed from the proud wretch who despises him, and who, it must be remembered, is the speaker throughout. ”

“ Christmas suggests the thought of heaven come down to earth; Easter, of earth raised up to heaven. “Christmas-Eve” leads naturally to the contemplation of the Christian Faith; “Easter-Day,” to the contemplation of the Christian Life.
Each poem turns on an impressive natural phenomenon which suggests the blending of heaven and earth—the one, of the night, a lunar rainbow ”

“ And what is,—shall I say, matched both? for I was made perfect too.
VI.
All through my keys that gave their sounds to a wish of my soul,
All through my soul that praised as its wish flowed visibly forth,
All through music and me! For think, had I painted the whole,
Why, there it had stood, to see, nor the process so wonder-worth.
Had I written the same, made verse—still, effect proceeds from cause,
Ye know why the forms are fair, ye hear how the tale is told;
It is all triumphant art, but art in obedience to laws
Painter and poet are proud, in the artist-list enrolled ”

“ It is so interesting, the chords seem to fold over each other, and die away down into music of infinite softness, and then they unfold and open out, as if great curtains were being withdrawn one after another, widening the view, till, with a gathering power and intensity and fulness, it seems as if the very skies were being opened out before one, and a sort of great blaze and glory of music, such as my outward ears never heard, gradually swells out in perfectly sublime splendour. ”

“ It can scarcely be said, even yet, that that time has come; but it is coming fast. Already he is something more than “the poet’s poet.” Few intelligent people now are content to know one of the master minds of the age simply as the author of “The Pied Piper of Hamelin,” as if that were the only thing he had written worth reading!
That the form in which the thought of Browning is cast is altogether admirable, is what none but his most undiscriminating admirers will assert. It is often, unquestionably, rough and forbidding. But there is strength even in its ruggedness ”

“ As Solomon (according to the well-known legend) summoned all spirits from above and from below, and all creatures of the earth, to build him a palace at once, so by a touch, “calling the keys to their work,” he has summoned demons of the bass, angels of the treble, earth creatures of the middle tones, who, by eager and tumultuous and yet harmoniously united efforts, have caused “the pinnacled glory” to “rush into sight” (stanzas 1-3) .
Into sight? There was far more in it than could be seen. As the soul of the musician ascended from earth, heaven descended on him ”

“ I seemed to hear depths and heights of sound beyond the scale which human ears can receive, keen, far-up octaves, like vividly twinkling starlight of music, and mighty slow vibrations of gigantic strings going down into grand thunders of depths, octaves below anything otherwise appreciable as musical notes. ”

“ Even drudgery may be divine; since the will of God is the work to be done, no matter whether under St. Peter’s dome or in the cell of the craftsman (the Boy) —“all one, if on the earth or in the sun” (the Angel) .
The poem is so full of exquisite things, that only a few can be noted. The value of the “little human praise” to God Himself (distich 12) , all the dearer because of the doubts and fears in it (20-22) ; and the contrast between its seeming weakness and insignificance and its real importance as a necessary part of the great chorus of creation (34) ”

“ This extract also furnishes an example of the strange rhymes in which the poet sometimes indulges, with what appears too little refinement of taste.
The themes of Browning’s poetry are the very greatest that can engage the thought of man. He ranges over a vast variety of topic; but, wherever his thought may lead him, he never vloses sight of that which is to him the centre of all, the human soul, with its infinite wants and capabilities. ”

“ Love is best. The supreme value of love is a constantly recurring thought in the poems of our author. We shall meet it in its higher ranges in selections to come. Here we are still in the sphere of the mere earthly affection, with only the suggestion, in contrast with the transitoriness of earthly glory, of its indestructibility.
No explanation seems needed, excepting perhaps to call attention to this, that the “little turret” in stanza 4 is not a bartizan, but a staircase turret, or it could not “mark the basement, whence a tower in ancient time sprang sublime.” ”

“ In the second stanza the fountains of the great deep of human feeling are broken up. “Life’s night begins” suggests at once the strength of the previous attachment, and the hopelessness of the broken tie being ever knit again on earth. The best thing is to be counted enemies now, and fight against each other as gallantly as they would have fought together. ”

“ The reader is brought face to face with some soul, in its thoughts and emotions, frequently in the very process of the thinking and the feeling. The poet has stepped aside, and of course supplies no key. The author does not appear, like the chorus in a Greek play, to point a moral or explain the situation. The dramatis personæ must explain themselves. And, just as Shakespeare must be studied in order to an appreciation other than second-hand, so must Browning be studied in order to be appreciated at all; for his writings are not yet old enough to secure much second-hand enthusiasm. ”

“ There are those who have charged the poet with affectation of the uncouth and the bizarre; but careful reading will, we think, render it apparent that it is rather his utter freedom from affectation which determines and perpetuates the peculiarities and oddities of his style; that, in fact, the aphorism of Buffon, “le iistyle est l’homme même,” is undoubtedly true as applied to him. It would, of course, be absurd to claim for the pomegranate the bloom and beauty of the peach ”

“ The hand of God, who looks down on him from far above (“God’s glow-worm”) as I look up to him from far below (“my star”) , has closed around him to keep him and his light safe till the time shall come for discovery (Stanza 3) and for recognition (4) . The drawing, or simile follows, of a Tyrian fisherman (5) , who brings from the great sea the common-looking little whelk, from which, by a secret process, is obtained that wonderful dye which out-dazzles art, and almost equals Nature’s most exquisite tints (6-10) . While the process is going on, the world stands aloof (11) ”

“ Observe, in each stanza, the striking contrast between the former and the latter half, so balanced that the poem might be divided into fourteen single or six double stanzas.
There is not much of the descriptive in the poems of our author; he is the poet, not of Nature, but of Human Nature; but when he does touch landscape, as here, it is with the hand of a master. ”

“ Through music—the only one of the arts that leads into the region of the absolute and perfect, its effects not springing from causes the operation of which can be traced, and the law of their production defined, but responding directly to the will, even as creation responded to the fiat of God. ”

“ By this time the reader has begun to have a pretty good idea who “the man” is that “had something in the look of him,” and knows that it is a veritable case of one raised from the dead. But Karshish cannot, of course, except under strong compulsion, be expected to take this view; and, accordingly, he begins by looking at it in a strictly professional light—“’Tis but a case of mania,” &c. He naturally supposes that his master will set it down as an ordinary instance of hallucination: “Such cases are diurnal, thou wilt cry.” ”

“ The true poet is he who discovers and discloses, for man’s recognition and enjoyment, the hidden beauties which abound everywhere in the great kingdom of God. These beauties may be unrecognised at first, so that the poet is not known as a poet, except to such as the speaker here is supposed to be (“I know you”) . He recognises in him a star. ”

“ Could Karshish and his master but penetrate the secret, what physicians they would be! The scene when Lazarus is brought in by the Elders of his tribe—who regard him as a madman, because he is living a life so far above anything they can understand—is inimitable.
In the illustration of the beggar suddenly become rich, Karshish lets out at last that he suspects there must be some truth in the man’s story. His patient, he observes, now measures things with no earthly measure, seeing often the small in the great and the great in the small; looking at everything “with larger, other eyes than ours” ”

“ But solely for the sun, so men applaud
In vain this Rudel, he not looking here
But to the East—the East! Go, say this, Pilgrim dear! This poem was first published in “Bells and Pomegranates” under the head of “Queen Worship.” How exquisite the plea of the unnoticed Flower, with no pretence to vie with the Mountain in its claim upon the Sun’s attention, except this, that the great unchanging Mountain is “vainly favoured,” while the Flower yields itself up in ceaseless and self-forgetting devotion to an imitation, however feeble and foolish, of the great Sun Life.
The second stanza is very rich. ”