The Poetry Of Robert Browning Part 20

Then he answers the king's letter. "It is true, O king, I am poet, sculptor, painter, architect, philosopher, musician; all arts are mine.

Have I done as well as the great men of old? No, but I have combined their excellences into one man, into myself.

"I have not chanted verse like Homer, no-- Nor swept string like Terpander--no--nor carved And painted men like Phidias and his friend: I am not great as they are, point by point.

But I have entered into sympathy With these four, running these into one soul, Who, separate, ignored each other's art.

Say, is it nothing that I know them all?

"This, since the best in each art has already been done, was the only progress possible, and I have made it. It is not unworthy, king!

"Well, now thou askest, if having done this, 'I have not attained the very crown of life; if I cannot now comfortably and fearlessly meet death?' 'I, Cleon, leave,' thou sayest, 'my life behind me in my poems, my pictures; I am immortal in my work. What more can life desire?'"

It is the question so many are asking now, and it is the answer now given. What better immortality than in one's work left behind to move in men? What more than this can life desire? But Cleon does not agree with that. "If thou, O king, with the light now in thee, hadst looked at creation before man appeared, thou wouldst have said, 'All is perfect so far.' But questioned if anything more perfect in joy might be, thou wouldst have said, 'Yes; a being may be made, unlike these who do not know the joy they have, who shall be conscious of himself, and know that he is happy. Then his life will be satisfied with daily joy.'" O king, thou wouldst have answered foolishly. The higher the soul climbs in joy the more it sees of joy, and when it sees the most, it perishes. Vast capabilities of joy open round it; it craves for all it presages; desire for more deepening with every attainment. And then the body intervenes.

Age, sickness, decay, forbid attainment. Life is inadequate to joy. What have the G.o.ds done? It cannot be their malice, no, nor carelessness; but--to let us see oceans of joy, and only give us power to hold a cupful--is that to live? It is misery, and the more of joy my artist nature makes me capable of feeling, the deeper my misery.

"But then, O king, thou sayest 'that I leave behind me works that will live; works, too, which paint the joy of life.' Yes, but to show what the joy of life is, is not to have it. If I carve the young Phoebus, am I therefore young? I can write odes of the delight of love, but grown too grey to be beloved, can I have its delight? That fair slave of yours, and the rower with the muscles all a ripple on his back who lowers the sail in the bay, can write no love odes nor can they paint the joy of love; but they can have it--not I."

The knowledge, he thinks, of what joy is, of all that life can give, which increases in the artist as his feebleness increases, makes his fate the deadlier. What is it to him that his works live? He does not live. The hand of death grapples the throat of life at the moment when he sees most clearly its infinite possibilities. Decay paralyses his hand when he knows best how to use his tools. It is accomplished wretchedness.

I quote his outburst. It is in the soul of thousands who have no hope of a life to come.

"But," sayest thou--(and I marvel, I repeat, To find thee trip on such a mere word) "what Thou writest, paintest, stays; that does not die: Sappho survives, because we sing her songs, And aeschylus, because we read his plays!"

Why, if they live still, let them come and take Thy slave in my despite, drink from thy cup, Speak in my place! "Thou diest while I survive?"-- Say rather that my fate is deadlier still, In this, that every day my sense of joy Grows more acute, my soul (intensified By power and insight) more enlarged, more keen; While every day my hairs fall more and more, My hand shakes, and the heavy years increase-- The horror quickening still from year to year, The consummation coming past escape When I shall know most, and yet least enjoy-- When all my works wherein I prove my worth, Being present still to mock me in men's mouths, Alive still, in the praise of such as thou, I, I the feeling, thinking, acting man, The man who loved his life so overmuch, Sleep in my urn. It is so horrible I dare at times imagine to my need Some future state revealed to us by Zeus, Unlimited in capability For joy, as this is in desire of joy, --To seek which the joy-hunger forces us: That, stung by straitness of our life, made strait On purpose to make prized the life at large-- Freed by the throbbing impulse we call death, We burst there as the worm into the fly.

Who, while a worm still, wants his wings. But no!

Zeus has not yet revealed it; and alas, He must have done so, were it possible!

This is one only of Browning's statements of what he held to be the fierce necessity for another life. Without it, nothing is left for humanity, having arrived at full culture, knowledge, at educated love of beauty, at finished morality and unselfishness--nothing in the end but Cleon's cry--sorrowful, somewhat stern, yet gentle--to Protus,

Live long and happy, and in that thought die, Glad for what was. Farewell.

But for those who are not Cleon and Protus, not kings in comfort or poets in luxury, who have had no gladness, what end--what is to be said of them? I will not stay to speak of _A Death in the Desert_, which is another of these poems, because the most part of it is concerned with questions of modern theology. St. John awakes into clear consciousness just before his death in the cave where he lies tended by a few disciples. He foresees some of the doubts of this century and meets them as he can. The bulk of this poem, very interesting in its way, is Browning's exposition of his own belief, not an imaginative representation of what St. John actually would have said. It does not therefore come into my subject. What does come into it is the extraordinary naturalness and vitality of the description given by John's disciple of the place where they were, and the fate of his companions. This is invented in Browning's most excellent way. It could not be better done.

The next poem is the _Epistle of Kars.h.i.+sh, the Arab Physician_, to his master, concerning his strange medical experience. The time is just before the last siege of Jerusalem, and Kars.h.i.+sh, journeying through Jericho, and up the pa.s.s, stays for a few days at Bethany and meets Lazarus. His case amazes him, and though he thinks his interest in it unworthy of a man of science in comparison with the new herbs and new diseases he has discovered, yet he is carried away by it and gives a full account of it to his master.

I do not think that Browning ever wrote a poem the writing of which he more enjoyed. The creation of Kars.h.i.+sh suited his humour and his quaint play with recondite knowledge. He describes the physician till we see him alive and thinking, in body and soul. The creation of Lazarus is even a higher example of the imaginative power of Browning; and that it is shaped for us through the mind of Kars.h.i.+sh, and in tune with it, makes the imaginative effort the more remarkable. Then the problem--how to express the condition of a man's body and soul, who, having for three days according to the story as Browning conceives it lived consciously in the eternal and perfect world, has come back to dwell in this world--was so difficult and so involved in metaphysical strangenesses, that it delighted him.

Of course, he carefully prepares his scenery to give a true semblance to the whole. Kars.h.i.+sh comes up the flinty pa.s.s from Jericho; he is attacked by thieves twice and beaten, and the wild beasts endanger his path;

A black lynx snarled and p.r.i.c.ked a tufted ear, l.u.s.t of my blood inflamed his yellow b.a.l.l.s; I cried and threw my staff and he was gone,

and then, at the end of the pa.s.s, he met Lazarus. See how vividly the scenery is realised--

I crossed a ridge of short, sharp, broken hills Like an old lion's cheek-teeth. Out there came A moon made like a face with certain spots, Multiform, manifold and menacing: Then a wind rose behind me. So we met In this old sleepy town at unaware The man and I.

And the weird evening, Kars.h.i.+sh thinks, had something to do with the strange impression the man has made on him. Then we are placed in the dreamy village of Bethany. We hear of its elders, its diseases, its flowers, its herbs and gums, of the insects which may help medicine--

There is a spider here Weaves no web, watches on the ledge of tombs, Sprinkled with mottles on an ash-grey back;

and then, how the countryside is all on fire with news of Vespasian marching into Judaea. So we have the place, the village, the hills, the animals, and the time, all clear, and half of the character of Kars.h.i.+sh.

The inner character of the man emerges as clearly when he comes to deal with Lazarus. This is not a case of the body, he thinks, but of the soul. "The Syrian," he tells his master, "has had catalepsy, and a learned leech of his nation, slain soon afterwards, healed him and brought him back to life after three days. He says he was dead, and made alive again, but that is his madness; though the man seems sane enough.

At any rate, his disease has disappeared, he is as well as you and I.

But the mind and soul of the man, that is the strange matter, and in that he is entirely unlike other men. Whatever he has gone through has rebathed him as in clear water of another life, and penetrated his whole being. He views the world like a child, he scarcely listens to what goes on about him, yet he is no fool. If one could fancy a man endowed with perfect knowledge beyond the fleshly faculty, and while he has this heaven in him forced to live on earth, such a man is he. His heart and brain move there, his feet stay here. He has lost all sense of our values of things. Vespasian besieging Jerusalem and a mule pa.s.sing with gourds awaken the same interest. But speak of some little fact, little as we think, and he stands astonished with its prodigious import. If his child sicken to death it does not seem to matter to him, but a gesture, a glance from the child, starts him into an agony of fear and anger, as if the child were undoing the universe. He lives like one between two regions, one of distracting glory, of which he is conscious but must not enter yet; and the other into which he has been exiled back again--and between this region where his soul moves and the earth where his body is, there is so little harmony of thought or feeling that he cannot undertake any human activity, nor unite the demands of the two worlds.

He knows that what ought to be cannot be in the world he has returned to, so that his life is perplexed; but in this incessant perplexity he falls back on p.r.o.ne submission to the heavenly will. The time will come when death will restore his being to equilibrium; but now he is out of harmony, for the soul knows more than the body and the body clouds the soul."

"I probed this seeming indifference. 'Beast, to be so still and careless when Rome is at the gates of thy town.' He merely looked with his large eyes at me. Yet the man is not apathetic, but loves old and young, the very brutes and birds and flowers of the field. His only impatience is with wrongdoing, but he curbs that impatience."

At last Kars.h.i.+sh tells, with many apologies for his foolishness, the strangest thing of all. Lazarus thinks that his curer was G.o.d himself who came and dwelt in flesh among those he had made, and went in and out among them healing and teaching, and then died. "It is strange, but why write of trivial matters when things of price call every moment for remark? Forget it, my master, pardon me and farewell."

Then comes the postscript, that impression which, in spite of all his knowledge, is left in Kars.h.i.+sh's mind--

The very G.o.d! think, Abib; dost thou think?

So, the All-Great were the All-Loving too-- So, through the thunder comes a human voice Saying: "O heart I made, a heart beats here!

Face, my hands fas.h.i.+oned, see it in myself!

Thou hast no power, nor may'st conceive of mine, But love I gave thee, with myself to love, And thou must love me who have died for thee!"-- The madman saith He said so; it is strange.

CHAPTER XII

_IMAGINATIVE REPRESENTATIONS RENAISSANCE_

The Imaginative Representations to be discussed in this chapter are those which belong to the time of the Renaissance. We take a great leap when we pa.s.s from Kars.h.i.+sh and Cleon to Fra Lippo Lippi, from early Christian times to the early manhood of the Renaissance. But these leaps are easy to a poet, and Browning is even more at his ease and in his strength in the fifteenth century than in the first.

We have seen with what force in _Sordello_ he realised the life and tumult of the thirteenth century. The fourteenth century does not seem to have attracted him much, though he frequently refers to its work in Florence; but when the Renaissance in the fifteenth century took its turn with decision towards a more open freedom of life and thought, abandoning one after another the conventions of the past; when the moral limits, which the Church still faintly insisted on, were more and more withdrawn and finally blotted out; when, as the century pa.s.sed into the next, the Church led the revolt against decency, order, and morality; when scepticism took the place of faith, even of duty, and criticism the place of authority, then Browning became interested, not of course in the want of faith and in immorality, but in the swift variety and intensity of the movement of intellectual and social life, and in the interlacing changes of the movement. This was an enchanting world for him, and as he was naturally most interested in the arts, he represented the way in which the main elements of the Renaissance appeared to him in poems which were concerned with music, poetry, painting and the rest of the arts, but chiefly with painting. Of course, when the Renaissance began to die down into senile pride and decay, Browning, who never ceased to choose and claim companions.h.i.+p with vigorous life, who abhorred decay either in Nature or nations, in societies or in cliques of culture, who would have preferred a blood-red pirate to the daintiest of decadents--did not care for it, and in only one poem, touched with contemptuous pity and humour, represented its disease and its disintegrating elements, with so much power, however, with such grasping mastery, that it is like a painting by Velasquez. Ruskin said justly that the _Bishop orders his Tomb at St. Praxed's Church_ concentrated into a few lines all the evil elements of the Renaissance. But this want of care for the decaying Renaissance was contrasted by the extreme pleasure with which he treated its early manhood in _Fra Lippo Lippi_.

The Renaissance had a life and seasons, like those of a human being. It went through its childhood and youth like a boy of genius under the care of parents from whose opinions and mode of life he is sure to sever himself in the end; but who, having made a deep impression on his nature, retain power over, and give direction to, his first efforts at creation. The first art of the Renaissance, awakened by the discovery of the cla.s.sic remnants, retained a great deal of the faith and superst.i.tion, the philosophy, theology, and childlike _navete_ of the middle ages. Its painting and sculpture, but chiefly the first of these, gave themselves chiefly to the representation of the soul upon the face, and of the untutored and unconscious movements of the body under the influence of religious pa.s.sion; that is, such movements as expressed devotion, fervent love of Christ, horror of sin, were chosen, and harmonised with the expression of the face. Painting dedicated its work to the representation of the heavenly life, either on earth in the story of the gospels and in the lives of the saints, or in its glory in the circles of heaven. Then, too, it represented the thought, philosophy, and knowledge of its own time and of the past in symbolic series of quiet figures, in symbolic pictures of the struggle of good with evil, of the Church with the world, of the virtues with their opposites.

Naturally, then, the expression on the face of secular pa.s.sions, the movement of figures in war and trade and social life and the whole vast field of human life in the ordinary world, were neglected as unworthy of representation; and the free, full life of the body, its beauty, power and charm, the objects which pleased its senses, the frank representation of its movement under the influence of the natural as contrasted with the spiritual pa.s.sions, were looked upon with religious dismay. Such, but less in sculpture than in painting, was the art of the Renaissance in its childhood and youth, and Browning has scarcely touched that time. He had no sympathy with a neglect of the body, a contempt of the senses or of the beauty they perceived. He claimed the physical as well as the intellectual and spiritual life of man as by origin and of right divine. When, then, in harmony with a great change in social and literary life, the art of the Renaissance began to turn, in its early manhood, from the representation of the soul to the representation of the body in natural movement and beauty; from the representation of saints, angels and virtues to the representation of actual men and women in the streets and rooms of Florence; from symbolism to reality--Browning thought, "This suits me; this is what I love; I will put this mighty change into a poem." And he wrote _Fra Lippo Lippi_.

As long as this vivid representation of actual human life lasted, the art of the Renaissance was active, original, and interesting; and as it moved on, developing into higher and finer forms, and producing continually new varieties in its development, it reached its strong and eager manhood. In its art then, as well as in other matters, the Renaissance completed its new and clear theory of life; it remade the grounds of life, of its action and pa.s.sion; and it reconst.i.tuted its aims. Browning loved this summer time of the Renaissance, which began with the midst of the fifteenth century. But he loved its beginnings even more than its fulness. That was characteristic. I have said that even when he was eighty years old, his keenest sympathies were with spring rather than summer, with those times of vital change when fresh excitements disturbed the world, when its eyes were smiling with hope, and its feet eager with the joy of pursuit. He rejoiced to a.n.a.lyse and embody a period which was shaking off the past, living intensely in the present, and prophesying the future. It charms us, as we read him, to see his intellect and his soul like two hunting dogs, and with all their eagerness, questing, roving, quartering, with the greatest joy and in incessant movement, over a time like this, where so many diverse, clas.h.i.+ng, and productive elements mingled themselves into an enchanting confusion and glory of life. Out of that pleasure of hunting in a morning-tide of humanity, was born _Fra Lippo Lippi_; and there is scarcely an element of the time, except the political elements, which it does not represent; not dwelt on, but touched for the moment and left; unconsciously produced as two men of the time would produce them in conversation. The poem seems as easy as a chat in Pall Mall last night between some intelligent men, which, read two hundred years hence, would inform the reader of the trend of thought and feeling in this present day. But in reality to do this kind of thing well is to do a very difficult thing. It needs a full knowledge, a full imagination and a masterly execution. Yet when we read the poem, it seems as natural as the breaking out of blossoms. This is that divine thing, the ease of genius.

The scenery of the poem is as usual clear. We are in fifteenth-century Florence at night. There is no set description, but the slight touches are enough to make us see the silent lonely streets, the churches, the high walls of the monastic gardens, the fortress-palaces. The sound of the fountains is in our ears; the little crowds of revelling men and girls appear and disappear like ghosts; the surly watch with their weapons and torches bustle round the corner. Nor does Browning neglect to paint by slight enlivening touches, introduced into Lippo Lippi's account of himself as a starving boy, the aspect by day and the character of the Florence of the fifteenth century. This painting of his, slight as it is, is more alive than all the elaborate descriptions in _Romola_.

As to the poem itself, Browning plunges at once into his matter; no long approaches, no elaborate porches belong to his work. The man and his character are before us in a moment--

I am poor brother Lippo, by your leave!

You need not clap your torches to my face.

Zooks, what's to blame? You think you see a monk!

What, 'tis past midnight, and you go the rounds, And here you catch me at an alley's end Where sportive ladies leave their doors ajar?

For three weeks he has painted saints, and saints, and saints again, for Cosimo in the Medici Palace; but now the time of blossoms has come.

Florence is now awake at nights; the secret of the spring moves in his blood; the man leaps up, the monk retires.

Ouf! I leaned out of window for fresh air.

There came a hurry of feet and little feet, A sweep of lute-strings, laughs and whifts of song,-- _Flower o' the broom._ _Take away love, and our earth is a tomb!_ _Flower of the quince,_ _I let Lisa go, and what good in life since?_ _Flower of the thyme_--and so on. Round they went.

Scarce had they turned the corner when a t.i.tter, Like the skipping of rabbits by moonlight,--three slim shapes, And a face that looked up ... zooks, sir, flesh and blood, That's all I'm made of! Into shreds it went, Curtain and counterpane and coverlet, All the bed furniture--a dozen knots, There was a ladder! Down I let myself, Hands and feet, scrambling somehow, and so dropped, And after them. I came up with the fun Hard by St. Laurence, hail fellow, well met,-- _Flower o' the rose,_ _If I've been merry, what matter who knows?_

It is a picture, not only of the man, but of the time and its temper, when religion and morality, as well as that simplicity of life which Dante describes, had lost their ancient power over society in Florence; when the claim to give to human nature all it desired had stolen into the Church itself. Even in the monasteries, the long seclusion from natural human life had produced a reaction, which soon, indulging itself as Fra Lippo Lippi did, ran into an extremity of licence. Nevertheless, something of the old religious life lasted at the time of this poem. It stretched one hand back to the piety of the past, and retained, though faith and devotion had left them, its observances and conventions; so that, at first, when Lippo was painting, the new only peeped out of the old, like the saucy face of a nymph from the ilexes of a sacred grove.