Men and Women by Robert Browning (best free ebook reader .txt) đź“•
contributing toward the individualizing of each artist are sounobtrusively epitomized and vitally blended, that, while scarcelyany item of specific study of the art and artists of the Renaissancewould be out of place in illustrating the essential truth of theportraiture and assisting in the better appreciation of the poem,there is no detail of the workmanship which does not fall into thebackground as a mere accessory to the dominant figure through whoserelationship to his art his station in the past is made clear.
This sort of dramatic synthesis of a salient, historical epoch isagain strikingly disclosed in the following poem of the Renaissanceperiod
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And am a fool, or disbelieve in her
And am a knave—approve in neither case,
Withhold their voices though I look their way: 380
Like Verdi when, at his worst opera's end
(The thing they gave at Florence—what's its name?)
While the mad houseful's plaudits near outbang
His orchestra of salt-box, tongs and bones,
He looks through all the roaring and the wreaths
Where sits Rossini patient in his stall.
Nay, friend, I meet you with an answer here—
That even your prime men who appraise their kind
Are men still, catch a wheel within a wheel,
See more in a truth than the truth's simple self, 390
Confuse themselves. You see lads walk the street
Sixty the minute; what's to note in that?
You see one lad o'erstride a chimney-stack;
Him you must watch—he's sure to fall, yet stands!
Our interest's on the dangerous edge of things.
The honest thief, the tender murderer,
The superstitious atheist, demirep
That loves and saves her soul in new French books—
We watch while these in equilibrium keep
The giddy line midway: one step aside, 400
They're classed and done with. I, then, keep the line
Before your sages—just the men to shrink
From the gross weights, coarse scales and labels broad
You offer their refinement. Fool or knave?
Why needs a bishop be a fool or knave
When there's a thousand diamond weights between?
So, I enlist them. Your picked twelve, you'll find,
Profess themselves indignant, scandalized
At thus being held unable to explain
How a superior man who disbelieves 410
May not believe as well: that's Schelling's way!
It's through my coming in the tail of time,
Nicking the minute with a happy tact.
Had I been born three hundred years ago
They'd say, "What's strange? Blougram of course believes;"
And, seventy years since, "disbelieves of course."
But now, "He may believe; and yet, and yet
How can he?" All eyes turn with interest.
Whereas, step off the line on either side—
You, for example, clever to a fault, 420
The rough and ready man who write apace,
Read somewhat seldomer, think perhaps even less—
You disbelieve! Who wonders and who cares?
Lord So-and-so—his coat bedropped with wax,
All Peter's chains about his waist, his back
Brave with the needlework of Noodledom—
Believes! Again, who wonders and who cares?
But I, the man of sense and learning too,
The able to think yet act, the this, the that,
I, to believe at this late time of day! 430
Enough; you see, I need not fear contempt.
—Except it's yours! Admire me as these may,
You don't. But whom at least do you admire?
Present your own perfection, your ideal,
Your pattern man for a minute—oh, make haste,
Is it Napoleon you would have us grow?
Concede the means; allow his head and hand,
(A large concession, clever as you are)
Good! In our common primal element
Of unbelief (we can't believe, you know— 440
We're still at that admission, recollect!)
Where do you find—apart from, towering o'er
The secondary temporary aims
Which satisfy the gross taste you despise—
Where do you find his star?—his crazy trust
God knows through what or in what? it's alive
And shines and leads him, and that's all we want.
Have we aught in our sober night shall point
Such ends as his were, and direct the means
Of working out our purpose straight as his, 450
Nor bring a moment's trouble on success
With after-care to justify the same?
—Be a Napoleon, and yet disbelieve—
Why, the man's mad, friend, take his light away!
What's the vague good o' the world, for which you dare
With comfort to yourself blow millions up?
We neither of us see it! we do see
The blown-up millions—spatter of their brains
And writhing of their bowels and so forth,
In that bewildering entanglement 460
Of horrible eventualities
Past calculation to the end of time!
Can I mistake for some clear word of God
(Which were my ample warrant for it all)
His puff of hazy instinct, idle talk,
"The State, that's I," quack-nonsense about crowns,
And (when one beats the man to his last hold)
A vague idea of setting things to rights,
Policing people efficaciously,
More to their profit, most of all to his own; 470
The whole to end that dismallest of ends
By an Austrian marriage, cant to us the Church,
And resurrection of the old regime?
Would I, who hope to live a dozen years,
Fight Austerlitz for reasons such and such?
No: for, concede me but the merest chance
Doubt may be wrong—there's judgment, life to come
With just that chance, I dare not. Doubt proves right?
This present life is all?—you offer me
Its dozen noisy years, without a chance 480
That wedding an archduchess, wearing lace,
And getting called by divers new-coined names,
Will drive off ugly thoughts and let me dine,
Sleep, read and chat in quiet as I like!
Therefore I will not.
Take another case;
Fit up the cabin yet another way.
What say you to the poets? shall we write
Hamlet, Othello—make the world our own,
Without a risk to run of either sort?
I can't!—to put the strongest reason first. 490
"But try," you urge, "the trying shall suffice;
The aim, if reached or not, makes great the life:
Try to be Shakespeare, leave the rest to fate!"
Spare my self-knowledge—there's no fooling me!
If I prefer remaining my poor self,
I say so not in self-dispraise but praise.
If I'm a Shakespeare, let the well alone;
Why should I try to be what now I am?
If I'm no Shakespeare, as too probable—
His power and consciousness and self-delight 500
And all we want in common, shall I find—
Trying forever? while on points of taste
Wherewith, to speak it humbly, he and I
Are dowered alike—I'll ask you, I or he,
Which in our two lives realizes most?
Much, he imagined—somewhat, I possess.
He had the imagination; stick to that!
Let him say, "In the face of my soul's works
Your world is worthless and I touch it not
Lest I should wrong them"—I'll withdraw my plea. 510
But does he say so? look upon his life!
Himself, who only can, gives judgment there.
He leaves his towers and gorgeous palaces
To build the trimmest house in Stratford town;
Saves money, spends it, owns the worth of things,
Giulio Romano's pictures, Dowland's lute;
Enjoys a show, respects the puppets, too,
And none more, had he seen its entry once,
Than "Pandulph, of fair Milan cardinal."
Why then should I who play that personage, 520
The very Pandulph Shakespeare's fancy made,
Be told that had the poet chanced to start
From where I stand now (some degree like mine
Being just the goal he ran his race to reach)
He would have run the whole race back, forsooth,
And left being Pandulph, to begin write plays?
Ah, the earth's best can be but the earth's best!
Did Shakespeare live, he could but sit at home
And get himself in dreams the Vatican,
Greek busts, Venetian paintings, Roman walls, 530
And English books, none equal to his own,
Which I read, bound in gold (he never did).
—Terni's fall, Naples' bay and Gothard's top—
Eh, friend? I could not fancy one of these;
But, as I pour this claret, there they are:
I've gained them—crossed St. Gothard last July
With ten mules to the carriage and a bed
Slung inside; is my hap the worse for that?
We want the same things, Shakespeare and myself,
And what I want, I have: he, gifted more, 540
Could fancy he too had them when he liked,
But not so thoroughly that, if fate allowed,
He would not have them …also in my sense.
We play one game; I send the ball aloft
No less adroitly that of fifty strokes
Scarce five go o'er the wall so wide and high
Which sends them back to me: I wish and get.
He struck balls higher and with better skill,
But at a poor fence level with his head,
And hit—his Stratford house, a coat of arms, 550
Successful dealings in his grain and wool—
While I receive heaven's incense in my nose
And style myself the cousin of Queen Bess.
Ask him, if this life's all, who wins the game?
Believe—and our whole argument breaks up.
Enthusiasm's the best thing, I repeat;
Only, we can't command it; fire and life
Are all, dead matter's nothing, we agree:
And be it a mad dream or God's very breath,
The fact's the same—belief's fire, once in us, 560
Makes of all else mere stuff to show itself;
We penetrate our life with such a glow
As fire lends wood and iron—this turns steel,
That burns to ash—all's one, fire proves its power
For good or ill, since men call flare success.
But paint a fire, it will not therefore burn.
Light one in me, I'll find it food enough!
Why, to be Luther—that's a life to lead,
Incomparably better than my own.
He comes, reclaims God's earth for God, he says, 570
Sets up God's rule again by simple means,
Re-opens a shut book, and all is done.
He flared out in the flaring of mankind;
Such Luther's luck was: how shall such be mine?
If he succeeded, nothing's left to do:
And if he did not altogether—well,
Strauss is the next advance. All Strauss should be
I might be also. But to what result?
He looks upon no future: Luther did.
What can I gain on the denying side? 580
Ice makes no conflagration. State the facts,
Read the text right, emancipate the world—
The emancipated world enjoys itself
With scarce a thank-you: Blougram told it first
It could not owe a farthing—not to him
More than Saint Paul! 't would press its pay, you think?
Then add there's still that plaguy hundredth chance
Strauss may be wrong. And so a risk is run—
For what gain? not for Luther's, who secured
A real heaven in his heart throughout his life, 590
Supposing death a little altered things.
"Ay, but since really you lack faith," you cry,
"You run the same risk really on all sides,
In cool indifference as bold unbelief.
As well be Strauss as swing 'twixt Paul and him.
It's not worth having, such imperfect faith,
No more available to do faith's work
Than unbelief like mine. Whole faith, or none!"
Softly, my friend! I must dispute that point.
Once own the use of faith, I'll find you faith. 600
We're back on Christian ground. You call for faith;
I show you doubt, to prove that faith exists.
The more of doubt, the stronger faith, I say,
If faith o'ercomes doubt. How I know it does?
By life and man's free will. God gave for that!
To mould life as we choose it, shows our choice:
That's our one act, the previous work's his own.
You criticise the soul? it reared this tree—
This broad life and whatever fruit it bears!
What matter though I doubt at every pore,
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