Robert Browning: How to Know Him Part 21

By Ha.s.selt, Dirck groaned; and cried Joris, "Stay spur!

Your Roos galloped bravely, the fault's not in her, We'll remember at Aix"--for one heard the quick wheeze Of her chest, saw the stretched neck and staggering knees, And sunk tail, and horrible heave of the flank, As down on her haunches she shuddered and sank.

So, we were left galloping, Joris and I, Past Looz and past Tongres, no cloud in the sky; The broad sun above laughed a pitiless laugh, 'Neath our feet broke the brittle bright stubble like chaff; Till over by Dalhem a dome-spire sprang white, And "Gallop," gasped Joris, "for Aix is in sight!"

"How they'll greet us!"--and all in a moment his roan Rolled neck and croup over, lay dead as a stone; And there was my Roland to bear the whole weight Of the news which alone could save Aix from her fate, With his nostrils like pits full of blood to the brim, And with circles of red for his eye-sockets' rim.

Then I cast loose my buffcoat, each holster let fall, Shook off both my jack-boots, let go belt and all, Stood up in the stirrup, leaned, patted his ear, Called my Roland his pet-name, my horse without peer; Clapped my hands, laughed and sang, any noise, bad or good, Till at length into Aix Roland galloped and stood.

And all I remember is--friends flocking round As I sat with his head 'twixt my knees on the ground; And no voice but was praising this Roland of mine, As I poured down his throat our last measure of wine, Which (the burgesses voted by common consent) Was no more than his due who brought good news from Ghent.

The monologue of the dying Bishop is as great a masterpiece as _My Last d.u.c.h.ess_; it has not a superfluous word, and in only a few lines gives us the spirit of the Italian Renaissance. Ruskin said that Browning is "unerring in every sentence he writes about the Middle Ages, always vital, right, and profound." He added, "I know no other piece of modern English, prose or poetry, in which there is so much told, as in these lines, of the Renaissance spirit."

Yet Browning had never seen Rome until a few months before this poem was published. It is an example, not of careful study, but of the inexplicable divination of genius. Browning permits a delirious old Bishop to talk a few lines, and a whole period of history is written.

The church of Saint Pra.s.sede is in a dirty little alley in Rome, hard by the great church of Saint Maria Maggiore. You push through the group of filthy, importunate beggars, open a leather door, and you drop from the twentieth to the sixteenth century. It is one of the most ornate churches in Rome; the mosaic angels in the choir are precisely as the poet describes them. The tomb of the imaginary Gandolf may be identified with a Bishop's tomb on the south side of the church, and the Latin inscription under it, while it does not contain the form "elucescebat," is not pure Tully, but rather belongs to the Latin of Ulpian's time. The rec.u.mbent figure is in exact accord with the description by Browning.

Skeptics are essential to the welfare of the Church; it is only in periods of sharp, skilful hostility that the Church becomes pure. In the Middle Ages, when it ran riot with power, there were plenty of churchmen as corrupt as our dying man. His love for a Greek ma.n.u.script is as sensual as his love for his mistress; and having lived a life of physical delight, it is natural that his last thoughts should concern themselves with the abode of his body rather than with the destination of his soul. Of course his mind is wandering, or he would not speak with quite such shameless cynicism.

Browning has made him talk of Saint Praxed at _his_ sermon on the mount, in order to prove the delirium. S. Praxed was a female saint.

The constant confusion of Greek mythology with the ritual of the Christian church is a characteristic feature both of this poem and of the period of history it represents.

Kipling is particularly fond of this work, and it will be remembered what use he makes of it in _Stalky and Co_.

THE BISHOP ORDERS HIS TOMB AT SAINT PRAXED'S CHURCH

ROME, 15--

1845

Vanity, saith the preacher, vanity!

Draw round my bed: is Anselm keeping back?

Nephews--sons mine ... ah G.o.d, I know not! Well-- She, men would have to be your mother once, Old Gandolf envied me, so fair she was!

What's done is done, and she is dead beside, Dead long ago, and I am Bishop since, And as she died so must we die ourselves, And thence ye may perceive the world's a dream.

Life, how and what is it? As here I lie In this state-chamber, dying by degrees, Hours and long hours in the dead night, I ask "Do I live, am I dead?" Peace, peace seems all.

Saint Praxed's ever was the church for peace; And so, about this tomb of mine. I fought With tooth and nail to save my niche, ye know: --Old Gandolf cozened me, despite my care; Shrewd was that s.n.a.t.c.h from out the corner South He graced his carrion with, G.o.d curse the same!

Yet still my niche is not so cramped but thence One sees the pulpit o' the epistle-side, And somewhat of the choir, those silent seats, And up into the aery dome where live The angels, and a sunbeam's sure to lurk: And I shall fill my slab of basalt there, And 'neath my tabernacle take my rest, With those nine columns round me, two and two, The odd one at my feet where Anselm stands: Peach-blossom marble all, the rare, the ripe As fresh-poured red wine of a mighty pulse.

--Old Gandolf with his paltry onion-stone, Put me where I may look at him! True peach, Rosy and flawless: how I earned the prize!

Draw close: that conflagration of my church --What then? So much was saved if aught were missed!

My sons, ye would not be my death? Go dig The white-grape vineyard where the oil-press stood, Drop water gently till the surface sink, And if ye find ... Ah G.o.d, I know not, I! ...

Bedded in store of rotten fig-leaves soft, And corded up in a tight olive-frail, Some lump, ah G.o.d, of _lapis lazuli_, Big as a Jew's head cut off at the nape, Blue as a vein o'er the Madonna's breast ...

Sons, all have I bequeathed you, villas, all, That brave Frascati villa with its bath, So, let the blue lump poise between my knees, Like G.o.d the Father's globe on both his hands Ye worship in the Jesu Church so gay, For Gandolf shall not choose but see and burst!

Swift as a weaver's shuttle fleet our years: Man goeth to the grave, and where is he?

Did I say basalt for my slab, sons? Black-- 'Twas ever antique-black I meant! How else Shall ye contrast my frieze to come beneath?

The bas-relief in bronze ye promised me, Those Pans and Nymphs ye wot of, and perchance Some tripod, thyrsus, with a vase or so, The Saviour at his sermon on the mount, Saint Praxed in a glory, and one Pan Ready to twitch the Nymph's last garment off, And Moses with the tables ... but I know Ye mark me not! What do they whisper thee, Child of my bowels, Anselm? Ah, ye hope To revel down my villas while I gasp Bricked o'er with beggar's mouldy travertine Which Gandolf from his tomb-top chuckles at!

Nay, boys, ye love me--all of jasper, then!

Tis jasper ye stand pledged to, lest I grieve.

My bath must needs be left behind, alas!

One block, pure green as a pistachio-nut, There's plenty jasper somewhere in the world-- And have I not Saint Praxed's ear to pray Horses for ye, and brown Greek ma.n.u.scripts, And mistresses with great smooth marbly limbs?

--That's if ye carve my epitaph aright, Choice Latin, picked phrase, Tully's every word, No gaudy ware like Gandolf's second line-- Tully, my masters? Ulpian serves his need!

And then how I shall lie through centuries, And hear the blessed mutter of the ma.s.s, And see G.o.d made and eaten all day long, And feel the steady candle-flame, and taste Good strong thick stupefying incense-smoke!

For as I lie here, hours of the dead night, Dying in state and by such slow degrees, I fold my arms as if they clasped a crook, And stretch my feet forth straight as stone can point, And let the bedclothes, for a mortcloth, drop Into great laps and folds of sculptor's-work: And as yon tapers dwindle, and strange thoughts Grow, with a certain humming in my ears, About the life before I lived this life, And this life too, popes, cardinals and priests, Saint Praxed at his sermon on the mount, Your tall pale mother with her talking eyes, And new-found agate urns as fresh as day, And marble's language, Latin pure, discreet, --Aha, ELUCESCEBAT quoth our friend?

No Tully, said I, Ulpian at the best!

Evil and brief hath been my pilgrimage.

All _lapis_, all, sons! Else I give the Pope My villas! Will ye ever eat my heart?

Ever your eyes were as a lizard's quick, They glitter like your mother's for my soul, Or ye would heighten my impoverished frieze, Piece out its starved design, and fill my vase With grapes, and add a vizor and a Term, And to the tripod ye would tie a lynx That in his struggle throws the thyrsus down, To comfort me on my entablature Whereon I am to lie till I must ask "Do I live, am I dead?" There, leave me, there!

For ye have stabbed me with ingrat.i.tude To death--ye wish it--G.o.d, ye wish it! Stone-- Gritstone, a-crumble! Clammy squares which sweat As if the corpse they keep were oozing through-- And no more _lapis_ to delight the world!

Well go! I bless ye. Fewer tapers there, But in a row: and, going, turn your backs --Ay, like departing altar-ministrants, And leave me in my church, the church for peace, That I may watch at leisure if he leers-- Old Gandolf, at me, from his onion-stone, As still he envied me, so fair she was!

Browning gives us a terrible study of jealousy in _The Laboratory_.

The chemist says nothing, but the contrast between the placid face of the old scientist, intent only upon his work, and the wildly pa.s.sionate countenance of the little woman with him, is sufficiently impressive. Those were the days when murder was a fine art. She plans the public death of the woman she hates so that the lover will never be able to forget the dying face. Radiant in queenly beauty, with the smile of satisfaction that accompanies the inner a.s.surance of beauty and power--in a moment she will be convulsively rolling on the floor, her swollen face purplish-black with the poison, her mouth emitting foam like a mad dog. There is no doubt that the little murderess intends to follow her rival to the tomb. She has given the chemist her entire fortune as pay for the drop of poison; he may kiss her, if he likes! All shame, all womanly reserve are gone: what does anything matter now? It is a true study of jealousy, because the little creature does not dream of attacking the _man_ who deserted her; all her h.e.l.lish energy is directed against the woman. Indeed the poison that she buys will not transform her rival more completely than the dreadful poison of jealousy has already transformed her from what she was to what she is.

The language and metre fit the thought. Tennyson pa.s.sed a severe judgment on the first line

Now that I, tying thy gla.s.s mask tightly

saying that it lacked smoothness, that it was a very difficult mouthful. But is this not intentional and absolutely right? The woman is speaking slowly with compressed lips, her voice convulsed with terrible hatred and the terrible resolution for revenge.

THE LABORATORY

ANCIEN REGIME

1844

I

Now that I, tying thy gla.s.s mask tightly, May gaze thro' these faint smokes curling whitely, As thou pliest thy trade in this devil's-smithy-- Which is the poison to poison her, prithee?

II

He is with her, and they know that I know Where they are, what they do: they believe my tears flow While they laugh, laugh at me, at me fled to the drear Empty church, to pray G.o.d in, for them!--I am here.

III

Grind away, moisten and mash up thy paste, Pound at thy powder,--I am not in haste!

Better sit thus, and observe thy strange things, Than go where men wait me and dance at the King's.

IV

That in the mortar--you call it a gum?

Ah, the brave tree whence such gold oozings come!

And yonder soft phial, the exquisite blue, Sure to taste sweetly,--is that poison too?