Men and Women, Robert Browning [the reading list book .TXT] 📗

indeed!
This hour has been an hour! Another smile?
If you would sit thus by me every night
I should work better, do you comprehend?
I mean that I should earn more, give you more.
See, it is settled dusk now; there's a star;
Morello's gone, the watch-lights show the wall,
The cue-owls speak the name we call them by. 210
Come from the window, love—come in, at last,
Inside the melancholy little house
We built to be so gay with. God is just.
King Francis may forgive me: oft at nights
When I look up from painting, eyes tired out,
The walls become illumined, brick from brick
Distinct, instead of mortar, fierce bright gold,
That gold of his I did cement them with!
Let us but love each other. Must you go?
That Cousin here again? he waits outside? 220
Must see you—you, and not with me? Those loans?
More gaming debts to pay? you smiled for that?
Well, let smiles buy me! have you more to spend?
While hand and eye and something of a heart
Are left me, work's my ware, and what's it worth?
I'll pay my fancy. Only let me sit
The gray remainder of the evening out,
Idle, you call it, and muse perfectly
How I could paint, were I but back in France,
One picture, just one more—the Virgin's face, 230
Not yours this time! I want you at my side
To hear them—that is, Michel Agnolo—
Judge all I do and tell you of its worth.
Will you? To-morrow, satisfy your friend.
I take the subjects for his corridor,
Finish the portrait out of hand—there, there,
And throw him in another thing or two
If he demurs; the whole should prove enough
To pay for this same Cousin's freak. Beside,
What's better and what's all I care about, 240
Get you the thirteen scudi for the ruff!
Love, does that please you? Ah, but what does he,
The Cousin! what does he to please you more?

  I am grown peaceful as old age to-night.
I regret little, I would change still less.
Since there my past life lies, why alter it?
The very wrong to Francis!—it is true
I took his coin, was tempted and complied,
And built this house and sinned, and all is said.
My father and my mother died of want. 250
Well, had I riches of my own? you see
How one gets rich! Let each one bear his lot.
They were born poor, lived poor, and poor they died:
And I have labored somewhat in my time
And not been paid profusely. Some good son
Paint my two hundred pictures—let him try!
No doubt, there's something strikes a balance. Yes,
You loved me quite enough, it seems to-night.
This must suffice me here. What would one have?
In heaven, perhaps, new chances, one more chance— 260
Four great walls in the New Jerusalem,
Meted on each side by the angel's reed,
For Leonard, Rafael, Agnolo and me
To cover—the three first without a wife,
While I have mine! So—still they overcome
Because there's still Lucrezia—as I choose.

Again the Cousin's whistle! Go, my Love.

NOTES

"Andrea del Sarto." This monologue reveals, beside the personalities of both Andrea and Lucretia and the main incidents of their lives, the relations existing between Andrea's character, his choice of a wife, and the peculiar quality of his art; the whole serving, also, to illustrate the picture on which the poem is based. The gray tone that silvers the picture pervades the poem with an air of helpless, resigned melancholy, and sets forth the fatal quality of facile craftsmanship joined with a flaccid spirit. —Mr. John Kenyon, Mrs. Browning's cousin, asked Browning to get him a copy of the picture of Andrea and his wife in the Pitti Palace. Browning, being unable to find one, wrote this poem describing it, instead. Andrea (1486-1531), because his father was a tailor, was called del Sarto, also, il pittore senza errori, "the faultless painter."

2. Lucrezia: di Baccio del Fede, a cap-maker's widow, says Vasari, who ensnared Andrea "before her husband's death, and who delighted in trapping the hearts of men."

15. Fiesole: a hillside city on the Arno, three miles west of Florence.

93. Morello: the highest of the Apennine mountains north of Florence.

105. The Urbinate: Raphael Santi (1483-1520), so called because born at Urbino.

106. Vasari: painter and writer of the "Lives of the Most Excellent Italian Painters," which supplied Browning with material for this poem and for "Fra Lippo."

130. Agnolo: Michel Agnolo Buonarotti, painter, sculptor, and 1architect (1475-564).

149. Francis: Francis I of France (1494-1547), who invited Andrea to his Court at Fontainebleau, where he was loaded with gifts and honors, until, says Vasari, "came to him certain letters from Florence written to him by his wife . . . with bitter complaints," when, taking "the money which the king confided to him for the purchase of pictures and statues, . . . he set off . . . having sworn on the Gospels to return in a few months. Arrived in Florence, he lived joyously with his wife for some time, making presents to her father and sisters, but doing nothing for his own parents, who died in poverty and misery. When the period specified by the king had come . . . he found himself at the end not only of his own money but . . . of that of the king."

184. Agnolo . . . to Rafael: Angelo's remark is given thus by Bocchi, "Bellezze di Firenze"; "There is a bit of a manikin in Florence who, if he chanced to be employed in great undertakings as you have happened to be, would compel you to look well about you."

210. Cue-owls: the owl's cry gives it its common name in various languages and countries; the peculiarity of its cry as to the predominant sound of oo or ow naming the species. This Italian <a`>ulo> is probably the <Bubo>, of the same family as our cat-owl. Buffon gives its note, <he-hoo>, <boo-hoo>; hence the Latin name, <Bubo>.

241. Scudi: Italian coins.

261. The New Jerusalem: Revelation 21.15-17.

263. Leonard: Leonardo da Vinci (1452-1519), painter, sculptor, architect, and engineer, who, together with Rafael and Agnolo, incarnates the genius of the Renaissance. He visited the same Court to which Andrea was invited, and was said to have died in the arms of Francis I.

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 God, 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 10
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 snatch from out the corner South
He graced his carrion with. God curse the same!
Yet still my niche is not so cramped but thence 20
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. 30
—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 God, I know not, I! . . .
Bedded in store of rotten fig-leaves soft, 40
And corded up in a tight olive-frail,
Some lump, ah God, 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 God 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! 50
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—
'T was 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 60
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!
'T is jasper ye stand pledged to, lest I grieve.
My bath must needs be left behind, alas! 70
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 manuscripts,
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, 80
And hear the blessed mutter of the mass,
And see God 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: 90
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!