The Poetry Of Robert Browning Part 19

And then as, 'mid the dark, a gleam Of yet another morning breaks, And, like the hand which ends a dream, Death, with the might of his sunbeam, Touches the flesh, and the soul awakes, Then----

Then the romance of life sweeps into the world beyond. But even in that world the d.u.c.h.ess will never settle down to a fixed life. She will be, like some of us, a child of the wandering tribes of eternity.

This romantic pa.s.sion which never dies even in our modern society, is embodied in the gipsy crone who, in rags and scarcely clinging to life, suddenly lifts into youth and queenliness, just as in a society, where romance seems old or dead, it springs into fresh and lovely life. This is the heart of the poem, and it is made to beat the more quickly by the wretched attempt of the duke and his mother to bring back the observances of the Middle Ages without their soul. Nor even then does Browning leave his motive. The huntsman has heard the gipsy's song; he has seen the light on his mistress' face as she rode away--the light which is not from sun or star--and the love of the romantic world is born in him. He will not leave his master; there his duty lies. "I must see this fellow his sad life through." But then he will go over the mountains, after his lady, leaving the graves of his wife and children, into the unknown, to find her, or news of her, in the land of the wanderers. And if he never find her, if, after pleasant journeying, earth cannot give her to his eyes, he will still pursue his quest in a world where romance and formality are not married together.

So I shall find out some snug corner, Under a hedge, like Orson the wood-knight, Turn myself round and bid the world Good Night; And sleep a sound sleep till the trumpet's blowing Wakes me (unless priests cheat us laymen) To a world where will be no further throwing Pearls before swine that can't value them. Amen.

CHAPTER XI

_IMAGINATIVE REPRESENTATIONS_

All poems might be called "imaginative representations." But the cla.s.s of poems in Browning's work to which I give that name stands apart. It includes such poems as _Cleon, Caliban on Setebos, Fra Lippo Lippi_, the _Epistle of Kars.h.i.+sh_, and they isolate themselves, not only in Browning's poetry, but in English poetry. They have some resemblance in aim and method to the monologues of Tennyson, such as the _Northern Farmer_ or _Rizpah_, but their aim is much wider than Tennyson's, and their method far more elaborate and complex.

What do they represent? To answer this is to define within what limits I give them the name of "imaginative representations." They are not only separate studies of individual men as they breathed and spoke; face, form, tricks of body recorded; intelligence, character, temper of mind, spiritual aspiration made clear--Tennyson did that; they are also studies of these individual men--Cleon, Kars.h.i.+sh and the rest--as general types, representative images, of the age in which they lived; or of the school of art to which they belonged; or of the crisis in theology, religion, art, or the social movement which took place while the men they paint were alive, and which these men led, on formed, or followed. That is their main element, and it defines them.

They are not dramatic. Their action and ideas are confined to one person, and their circ.u.mstance and scenery to one time and place. But Browning, unlike Tennyson, filled the background of the stage on which he placed his single figure with a mult.i.tude of objects, or animals, or natural scenery, or figures standing round or in motion; and these give additional vitality and interest to the representation. Again, they are short, as short as a soliloquy or a letter or a conversation in a street. Shortness belongs to this form of poetic work--a form to which Browning gave a singular intensity. It follows that they must not be argumentative beyond what is fitting. Nor ought they to glide into the support of a thesis, or into didactic addresses, as _Bishop Blougram_ and _Mr. Sludge_ do. These might be called treatises, and are apart from the kind of poem of which I speak. They begin, indeed, within its limits, but they soon transgress those limits; and are more properly cla.s.sed with poems which, also representative, have not the brevity, the scenery, the lucidity, the objective representation, the concentration of the age into one man's mind, which mark out these poems from the rest, and isolate them into a cla.s.s of their own.

The voice we hear in them is rarely the voice of Browning; nor is the mind of their personages his mind, save so far as he is their creator.

There are a few exceptions to this, but, on the whole, Browning has, in writing these poems, stripped himself of his own personality. He had, by creative power, made these men; cast them off from himself, and put them into their own age. They talk their minds out in character with their age. Browning seems to watch them, and to wonder how they got out of his hands and became men. That is the impression they make, and it predicates a singular power of imagination. Like the Prometheus of Goethe, the poet sits apart, moulding men and then endowing them with life. But he cannot tell, any more than Prometheus, what they will say and do after he has made them. He does tell, of course, but that is not our impression. Our impression is that they live and talk of their own accord, so vitally at home they are in the country, the scenery, and the thinking of the place and time in which he has imagined them.

Great knowledge seems required for this, and Browning had indeed an extensive knowledge not so much of the historical facts, as of the tendencies of thought which worked in the times wherein he placed his men. But the chief knowledge he had, through his curious reading, was of a mult.i.tude of small intimate details of the customs, clothing, architecture, dress, popular talk and scenery of the towns and country of Italy from the thirteenth century up to modern times. To every one of these details--such as are found in _Sordello_, in _Fra Lippo Lippi_, in the _Bishop orders his Tomb at St. Praxed's Church_--his vivid and grasping imagination gave an uncommon reality.

But even without great knowledge such poems may be written, if the poet have imagination, and the power to execute in metrical words what has been imagined. _Theology in the Island_ and the prologue to a _Death in the Desert_ are examples of this. Browning knew nothing of that island in the undiscovered seas where Prosper dwelt, but he made all the scenery of it and all its animal life, and he re-created Caliban. He had never seen the cave in the desert where he placed John to die, nor the sweep of rocky hills and sand around it, nor the Bactrian waiting with the camels. Other poets, of course, have seen unknown lands and alien folks, but he has seen them more vividly, more briefly, more forcibly.

His imagination was objective enough.

But it was as subjective as it was objective. He saw the soul of Fra Lippo Lippi and the soul of his time as vividly as he saw the streets of Florence at night, the watch, the laughing girls, and the palace of the Medici round the corner. It was a remarkable combination, and it is by this combination of the subjective and objective imagination that he draws into some dim approach to Shakespeare; and nowhere closer than in these poems.

Again, not only the main character of each of these poems, but all the figures introduced (sometimes only in a single line) to fill up the background, are sketched with as true and vigorous a pencil as the main figure; are never out of place or harmony with the whole, and are justly subordinated. The young men who stand round the Bishop's bed when he orders his tomb, the watchmen in _Fra Lippo Lippi_, the group of St.

John's disciples, are as alive, and as much in tune with the whole, as the servants and tenants of Justice Shallow. Again, it is not only the lesser figures, but the scenery of these poems which is worth our study.

That also is closely fitted to the main subject. The imagination paints it for that, and nothing else. It would not fit any other subject. For imagination, working at white heat, cannot do what is out of harmony; no more than a great musician can introduce a false chord. All goes together in these poems--scenery, characters, time, place and action.

Then, also, the extent of their range is remarkable. Their subjects begin with savage man making his G.o.d out of himself. They pa.s.s through Greek mythology to early Christian times; from Artemis and Pan to St.

John dying in the desert. Then, still in the same period, while Paul was yet alive, he paints another aspect of the time in Cleon the rich artist, the friend of kings, who had reached the top of life, included all the arts in himself, yet dimly craved for more than earth could give. From these times the poems pa.s.s on to the early and late Renaissance, and from that to the struggle for freedom in Italy, and from that to modern life in Europe. This great range ill.u.s.trates the penetration and the versatility of his genius. He could place us with ease and truth at Corinth, Athens or Rome, in Paris, Vienna or London; and wherever we go with him we are at home.

One word more must be said about the way a great number of these poems arose. They leaped up in his imagination full-clad and finished at a single touch from the outside. _Caliban upon Setebos_ took its rise from a text in the Bible which darted into his mind as he read the _Tempest_.

_Cleon_ arose as he read that verse in St. Paul's speech at Athens, "As certain also of your own poets have said." I fancy that _An Epistle of Kars.h.i.+sh_ was born one day when he read those two stanzas in _In Memoriam_ about Lazarus, and imagined how the subject would come to him.

_Fra Lippo Lippi_ slipped into his mind one day at the Belle Arti at Florence as he stood before the picture described in the poem, and walked afterwards at night through the streets of Florence. These fine things are born in a moment, and come into our world from poet, painter, and musician, full-grown; built, like Aladdin's palace, with all their jewels, in a single night. They are inexplicable by any scientific explanation, as inexplicable as genius itself. When have the hereditarians explained Shakespeare, Mozart, Turner? When has the science of the world explained the birth of a lyric of Burns, a song of Beethoven's, or a drawing of Raffaelle? Let these gentlemen veil their eyes, and confess their inability to explain the facts. For it is fact they touch. "Full fathom five thy father lies"--that song of Shakespeare exists. The overture to Don Giovanni is a reality. We can see the Bacchus and Ariadne at the National Gallery and the Theseus at the Museum. These are facts; but they are a million million miles beyond the grasp of any science. Nay, the very smallest things of their kind, the slightest water-colour sketch of Turner, a half-finished clay sketch of Donatello, the little song done in the corner of a provincial paper by a working clerk in a true poetic hour, are not to be fathomed by the most far-descending plummet of the scientific understanding. These things are in that superphysical world into which, however closely he saw and dealt with his characters in the world of the senses, the conscience, or the understanding, Browning led them all at last.

The first of these poems is _Natural Theology on the Island; or, Caliban upon Setebos_. Caliban, with the instincts and intelligence of an early savage, has, in an hour of holiday, set himself to conceive what Setebos, his mother's G.o.d, is like in character. He talks out the question with himself, and because he is in a vague fear lest Setebos, hearing him soliloquise about him, should feel insulted and swing a thunder-bolt at him, he not only hides himself in the earth, but speaks in the third person, as if it was not he that spoke; hoping in that fas.h.i.+on to trick his G.o.d.

Browning, conceiving in himself the mind and temper of an honest, earthly, imaginative savage--who is developed far enough to build nature-myths in their coa.r.s.e early forms--architectures the character of Setebos out of the habits, caprices, fancies, likes and dislikes, and thoughts of Caliban; and an excellent piece of penetrative imagination it is. Browning has done nothing better, though he has done as well.

But Browning's Caliban is not a single personage. No one savage, at no one time, would have all these thoughts of his G.o.d. He is the representative of what has been thought, during centuries, by many thousands of men; the concentration into one mind of the ground-thoughts of early theology. At one point, as if Browning wished to sketch the beginning of a new theological period, Caliban represents a more advanced thought than savage man conceives. This is Caliban's imagination of a higher being than Setebos who is the capricious creator and power of the earth--of the "Quiet," who is master of Setebos and whose temper is quite different; who also made the stars, things which Caliban, with a touch of Browning's subtle thought, separates from the sun and moon and earth. It is plain from this, and from the whole argument which is admirably conducted, that Caliban is an intellectual personage, too long neglected; and Prospero, could he have understood his nature, would have enjoyed his conversation. Renan agreed with Browning in this estimate of his intelligence, and made him the foundation of a philosophical play.

There is some slight reason for this in Shakespeare's invention. He lifts Caliban in intellect, even in feeling, far above Trinculo, Stephano, the Boatswain and the rest of the common men. The objection, however, has been made that Browning makes him too intelligent. The answer is that Browning is not drawing Caliban only, but embodying in an imagined personage the thoughts about G.o.d likely to be invented by early man during thousands of years--and this accounts for the insequences in Caliban's thinking. They are not the thoughts of one but of several men.

Yet a certain poetic unity is given to them by the unity of place. The continual introduction of the landscape to be seen from his refuge knits the discursive thinking of the savage into a kind of unity. We watch him lying in the thick water-slime of the hollow, his head on the rim of it propped by his hands, under the cave's mouth, hidden by the gadding gourds and vines; looking out to sea and watching the wild animals that pa.s.s him by--and out of this place he does not stir.

In Shakespeare's _Tempest_ Caliban is the gross, brutal element of the earth and is opposed to Ariel, the light, swift, fine element of the air. Caliban curses Prospero with the evils of the earth, with the wicked dew of the fen and the red plague of the sea-marsh. Browning's Caliban does not curse at all. When he is not angered, or in a caprice, he is a good-natured creature, full of animal enjoyment. He loves to lie in the cool slush, like a lias-lizard, s.h.i.+vering with earthy pleasure when his spine is tickled by the small eft-things that course along it,

Run in and out each arm, and make him laugh.

The poem is full of these good, close, vivid realisations of the brown prolific earth.

Browning had his own sympathy with Caliban Nor does Shakespeare make him altogether brutish. He has been so educated by his close contact with nature that his imagination has been kindled. His very cursing is imaginative:

As wicked dew as e'er my mother brushed With raven's feather from unwholesome fen Drop on you both; a south-west blow on you And blister you all o'er.

Stephano and Trinculo, vulgar products of civilisation, could never have said that. Moreover, Shakespeare's Caliban, like Browning's, has the poetry of the earth-man in him. When Ariel plays, Trinculo and Stephano think it must be the devil, and Trinculo is afraid: but Caliban loves and enjoys the music for itself:

Be not afear'd; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not.

Sometimes a thousand tw.a.n.gling instruments Will hum about mine ears, and sometimes voices That, if I then had waked after long sleep.

Will make me sleep again.

Stephano answers, like a modern millionaire:

This will prove a brave kingdom for me, where I shall have my music for nothing.

Browning's Caliban is also something of a poet, and loves the Nature of whom he is a child. We are not surprised when he

looks out o'er yon sea which sunbeams cross And recross till they weave a spider web (Meshes of fire some great fish breaks at times)

though the phrase is full of a poet's imagination, for so the living earth would see and feel the sea. It belongs also to Caliban's nearness to the earth that he should have the keenest of eyes for animals, and that poetic pleasure in watching their life which, having seen them vividly, could describe them vividly. I quote one example from the poem; there are many others:

'Thinketh, He made thereat the sun, this isle, Trees and the fowls here, beast and creeping thing.

Yon otter, sleek-wet, black, lithe as a leech; Yon auk, one fire-eye in a ball of foam, That floats and feeds; a certain badger brown He hath watched hunt with that slant white-wedge eye By moonlight; and the pie with the long tongue That p.r.i.c.ks deep into oakwarts for a worm, And says a plain word when she finds her prize, But will not eat the ants; the ants themselves That build a wall of seeds and settled stalks About their hole--

There are two more remarks to make about this poem. First, that Browning makes Caliban create a dramatic world in which Miranda, Ariel, and he himself play their parts, and in which he a.s.sumes the part of Prosper. That is, Caliban invents a new world out of the persons he knows, but different from them, and a second self outside himself. No lower animal has ever conceived of such a creation. Secondly, Browning makes Caliban, in order to exercise his wit and his sense of what is beautiful, fall to making something--a bird, an insect, or a building which he ornaments, which satisfies him for a time, and which he then destroys to make a better. This is art in its beginning; and the highest animal we know of is incapable of it. We know that the men of the caves were capable of it. When they made a drawing, a piece of carving, they were unsatisfied until they had made a better. When they made a story out of what they knew and saw, they went on to make more. Creation, invention, art--this, independent entirely of the religious desire, makes the infinite gulf which divides man from the highest animals.

I do not mean, in this book, to speak of the theology of Caliban, though the part of the poem which concerns the origin of sacrifice is well worth our attention. But the poem may be recommended to those theological persons who say there is no G.o.d; and to that large cla.s.s of professional theologians, whose idea of a capricious, jealous, suddenly-angered G.o.d, without any conscience except his sense of power to do as he pleases, is quite in harmony with Caliban's idea of Setebos.

The next of these "imaginative representations" is the poem called _Cleon_. Cleon is a rich and famous artist of the Grecian isles, alive while St. Paul was still making his missionary journeys, just at the time when the Graeco-Roman culture had attained a height of refinement, but had lost originating power; when it thought it had mastered all the means for a perfect life, but was, in reality, trembling in a deep dissatisfaction on the edge of its first descent into exhaustion. Then, as everything good had been done in the art of the past, cultivated men began to ask "Was there anything worth doing?" "Was life itself worth living?"; questions never asked by those who are living. Or "What is life in its perfection, and when shall we have it?"; a question also not asked by those who live in the morning of a new aera, when the world--as in Elizabeth's days, as in 1789, as perhaps it may be in a few years--is born afresh; but which is asked continually in the years when a great movement of life has pa.s.sed its culminating point and has begun to decline. Again and again the world has heard these questions; in Cleon's time, and when the Renaissance had spent its force, and at the end of the reign of Louis XIV., and before Elizabeth's reign had closed, and about 1820 in England, and of late years also in our society. This is the temper and the time that Browning embodies in Cleon, who is the incarnation of a culture which is already feeling that life is going out of it.

Protus, the king, has written to him, and the poem is Cleon's answer to the king. Browning takes care, as usual, to have his background of scenery quite clear and fair. It is a courtyard to Cleon's house in one of the sprinkled isles--

Lily on lily, that o'erlace the sea, And laugh their pride when the light wave lisps "Greece."

I quote it; it marks the man and the age of luxurious culture.

They give thy letter to me, even now; I read and seem as if I heard thee speak.

The master of thy galley still unlades Gift after gift; they block my court at last And pile themselves along its portico Royal with sunset, like a thought of thee; And one white she-slave from the group dispersed Of black and white slaves (like the chequer work Pavement, at once my nation's work and gift, Now covered with this settle-down of doves), One lyric woman, in her crocus vest Woven of sea-wools, with her two white hands Commends to me the strainer and the cup Thy lip hath bettered ere it blesses mine.

But he is more than luxurious. He desires the highest life, and he praises the king because he has acknowledged by his gifts the joy that Art gives to life; and most of all he praises him, because he too aspires, building a mighty tower, not that men may look at it, but that he may gaze from its height on the sun, and think what higher he may attain. The tower is the symbol of the cry of the king's soul.