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

230
And yet the old schooling sticks, the old grave eyes
Are peeping o'er my shoulder as I work,
The heads shake still—"It's art's decline, my son!
You're not of the true painters, great and old;
Brother Angelico's the man, you'll find;
Brother Lorenzo stands his single peer:
Fag on at flesh, you'll never make the third!"
<Flower o' the pine,
You keep your mistr . . . manners, and I'll stick to mine!>
I'm not the third, then: bless us, they must know! 240
Don't you think they're the likeliest to know,
They with their Latin? So, I swallow my rage,
Clench my teeth, suck my lips in tight, and paint
To please them—sometimes do and sometimes don't;
For, doing most, there's pretty sure to come
A turn, some warm eve finds me at my saints—
A laugh, a cry, the business of the world—
<(Flower o' the peach,
Death for us all, and his own life for each!)>
And my whole soul revolves, the cup runs over, 250
The world and life's too big to pass for a dream,
And I do these wild things in sheer despite,
And play the fooleries you catch me at,
In pure rage! The old mill-horse, out at grass
After hard years, throws up his stiff heels so,
Although the miller does not preach to him
The only good of grass is to make chaff.
What would men have? Do they like grass or no—
May they or may n't they? all I want's the thing
Settled forever one way. As it is, 260
You tell too many lies and hurt yourself:
You don't like what you only like too much,
You do like what, if given you at your word,
You find abundantly detestable.
For me, I think I speak as I was taught;
I always see the garden and God there
A-making man's wife: and, my lesson learned,
The value and significance of flesh,
I can't unlearn ten minutes afterwards,

You understand me: I'm a beast, I know. 270
But see, now—why, I see as certainly
As that the morning-star's about to shine,
What will hap some day. We've a youngster here
Comes to our convent, studies what I do,
Slouches and stares and lets no atom drop:
His name is Guidi—he'll not mind the monks—
They call him Hulking Tom, he lets them talk—
He picks my practice up—he'll paint apace,
I hope so—though I never live so long,
I know what's sure to follow. You be judge! 280
You speak no Latin more than I, belike;
However, you're my man, you've seen the world
—The beauty and the wonder and the power,
The shapes of things, their colors, lights and shades,
Changes, surprises,—and God made it all!
—For what? Do you feel thankful, ay or no,
For this fair town's face, yonder river's line,
The mountain round it and the sky above,
Much more the figures of man, woman, child,
These are the frame to? What's it all about? 290
To be passed over, despised? or dwelt upon,
Wondered at? oh, this last of course!—you say.
But why not do as well as say—paint these
Just as they are, careless what comes of it?
God's works—paint any one, and count it crime
To let a truth slip. Don't object, "His works
Are here already; nature is complete:
Suppose you reproduce her (which you can't)
There's no advantage! you must beat her, then."
For, don't you mark? we're made so that we love 300
First when we see them painted, things we have passed
Perhaps a hundred times nor cared to see;
And so they are better, painted—better to us,
Which is the same thing. Art was given for that;
God uses us to help each other so,
Lending our minds out. Have you noticed, now,
Your cullion's hanging face? A bit of chalk,
And trust me but you should, though! How much more,
If I drew higher things with the same truth!
That were to take the Prior's pulpit-place, 310
Interpret God to all of you! Oh, oh,
It makes me mad to see what men shall do
And we in our graves! This world's no blot for us,
Nor blank; it means intensely, and means good:
To find its meaning is my meat and drink.
"Ay, but you don't so instigate to prayer!"
Strikes in the Prior: "when your meaning's plain
It does not say to folk—remember matins,
Or, mind you fast next Friday! "Why, for this
What need of art at all? A skull and bones, 320
Two bits of stick nailed crosswise, or, what's best,
A bell to chime the hour with, does as well.
I painted a Saint Laurence six months since
At Prato, splashed the fresco in fine style:
" How looks my painting, now the scaffold's down?"
I ask a brother: "Hugely," he returns—
"Already not one phiz of your three slaves
Who turn the Deacon off his toasted side,
But's scratched and prodded to our heart's content,
The pious people have so eased their own 330
With coming to say prayers there in a rage:
We get on fast to see the bricks beneath.
Expect another job this time next year,
For pity and religion grow i' the crowd—
Your painting serves its purpose! Hang the fools!

—That is—you'll not mistake an idle word
Spoke in a huff by a poor monk. God wot,
Tasting the air this spicy night which turns
The unaccustomed head like Chianti wine!
Oh, the church knows! don't misreport me, now! 340
It's natural a poor monk out of bounds
Should have his apt word to excuse himself:
And hearken how I plot to make amends.
I have bethought me: I shall paint a piece
. . . There's for you! Give me six months, then go, see
Something in Sant' Ambrogio's! Bless the nuns!
They want a cast o' my office. I shall paint
God in the midst. Madonna and her babe,
Ringed by a bowery flowery angel-brood,
Lilies and vestments and white faces, sweet 350
As puff on puff of grated orris-root
When ladies crowd to Church at midsummer.
And then i' the front, of course a saint or two—
Saint John, because he saves the Florentines,
Saint Ambrose, who puts down in black and white
The convent's friends and gives them a long day,
And Job, I must have him there past mistake,
The man of Uz (and Us without the z,
Painters who need his patience). Well, all these
Secured at their devotion, up shall come 360
Out of a corner when you least expect,
As one by a dark stair into a great light,
Music and talking, who but Lippo! I!—
Mazed, motionless and moonstruck—I'm the man!
Back I shrink—what is this I see and hear?
I, caught up with my monk's-things by mistake,
My old serge gown and rope that goes all round,
I, in this presence, this pure company!
Where's a hole, where's a corner for escape?
Then steps a sweet angelic slip of a thing 370
Forward, puts out a soft palm—"Not so fast!"
—Addresses the celestial presence, "nay—
He made you and devised you, after all,
Though he's none of you! Could Saint John there draw—
His camel-hair make up a painting-brush?
We come to brother Lippo for all that,
<Iste perfecit opus.>" So, all smile—
I shuffle sideways with my blushing face
Under the cover of a hundred wings
Thrown like a spread of kirtles when you're gay 380
And play hot cockles, all the doors being shut,
Till, wholly unexpected, in there pops
The hothead husband! Thus I scuttle off
To some safe bench behind, not letting go
The palm of her, the little lily thing
That spoke the good word for me in the nick,
Like the Prior's niece . . . Saint Lucy, I would say.
And so all's saved for me, and for the church
A pretty picture gained. Go, six months hence!
Your hand, sir, and good-bye: no lights, no lights! 390
The street's hushed, and I know my own way back,
Don't fear me! There's the gray beginning. Zooks!

NOTES

"Fra Lippo Lippi" is a dramatic monologue which incidentally conveys the whole story of the occurrence the poem starts from—the seizure of Fra Lippo by the City Guards, past midnight, in an equivocal neighborhood—and the lively talk that arose thereupon, outlines the character and past life of the Florentine artist-monk (1412-1469) and the subordinate personalities of the group of officers; and makes all this contribute towards the presentation of Fra Lippo as a type of the more realistic and secular artist of the Renaissance who valued flesh, and protested against the ascetic spirit which strove to isolate the soul.

7. The Carmine: monastery of the Del Carmine friars.

17. Cosimo: de' Medici (1389-1464), Florentine statesman and patron of the arts.

23. Pilchards: a kind of fish.

53. Flower o' the broom: of the many varieties of folk-songs in Italy that which furnished Browning with a model for Lippo's songs is called a stornello. The name is variously derived. Some take it as merely short for ritornillo; others derive it from a storno, to sing against each other, because the peasants sing them at their work, and as one ends a song, another caps it with a fresh one, and so on. These stornelli consist of three lines. The first usually contains the name of a flower which sets the rhyme, and is five syllables long. Then the love theme is told in two lines of eleven syllables each, agreeing by rhyme, assonance, or repetition with the first. The first line may be looked upon as a burden set at the beginning instead of, as is more familiar to us, at the end. There are also stornelli formed of three lines of eleven syllables without any burden. Browning has made Lippo's songs of only two lines, but he has strictly followed the rule of making the first line, containing the address to the flower, of five syllables. The Tuscany versions of two of the songs used by Browning are as follows:

"Flower of the pine! Call me not ever happy heart again, But call me heavy heart, 0 comrades mine."

"Flower of the broom! Unwed thy mother keeps thee not to lose That flower from the window of the room."

67. Saint Laurence: the church of San Lorenzo.

88. Aunt Lapaccia: by the death of Lippo's father, says Vasari, he "was left a friendless orphan at the age of two . . . under the care of Mona Lapaccia, his aunt, who brought him up with very great difficulty till his eighth year, when, being no longer able to support the burden, she placed him in the Convent of the Carmelites."

121. The Eight: the magistrates of Florence.

130. Antiphonary: the Roman Service-Book, containing all that is sung in the choir—the antiphones, responses, etc.; it was compiled by Gregory the Great.

131. joined legs and arms to the long music-notes: the musical notation of Lippo's day was entirely different from ours, the notes being square and oblong and rather less suited for arms and legs than the present rounded notes.

139. Camaldolese: monks of Camaldoli.—Preaching Friars: the Dominicans.

189. Giotto: reviver of art in Italy, painter, sculptor, and architect (1266-1337).

196. Herodias: Matthew xiv.6-11.

235. Brother Angelico: Fra Angelico, Giovanni da Fiesole (1387-1455), flower of the monastic school of art, who was said to paint on his knees.

236. Brother Lorenzo: Lorenzo Monaco, of the same school.

276. Guidi : Tommaso Guidi, or Masaccio, nicknamed "Hulking Tom" (1401-1429). [Vasari makes him Lippo's predecessor. Browning followed the best knowledge