Wednesday, 20 February 2019

The Scholar Gypsy - Matthew Arnold

The Scholar-Gipsy


BY MATTHEW ARNOLD

The Scholar Gipsylyric poem by Matthew Arnold, published in Poems (1853). It is a masterful handling of the 10-line stanza that John Keats used in many of his odes. The poem’s subject is a legendary Oxford scholar who gives up his academic life to roam the world with a band of Gypsies, absorbing their customs and seeking the source of their wisdom. The poem is filled with vivid descriptions of the countryside around Oxford.

(Source: https://www.britannica.com/topic/The-Scholar-Gipsy)


The Scholar-Gipsy

BY MATTHEW ARNOLD
Go, for they call you, shepherd, from the hill; 
Go, shepherd, and untie the wattled cotes! 
No longer leave thy wistful flock unfed, 
Nor let thy bawling fellows rack their throats, 
Nor the cropp'd herbage shoot another head. 
But when the fields are still, 
And the tired men and dogs all gone to rest, 
And only the white sheep are sometimes seen 
Cross and recross the strips of moon-blanch'd green. 
Come, shepherd, and again begin the quest! 

Here, where the reaper was at work of late— 
In this high field's dark corner, where he leaves 
His coat, his basket, and his earthen cruse, 
And in the sun all morning binds the sheaves, 
Then here, at noon, comes back his stores to use— 
Here will I sit and wait, 
While to my ear from uplands far away 
The bleating of the folded flocks is borne, 
With distant cries of reapers in the corn— 
All the live murmur of a summer's day. 

Screen'd is this nook o'er the high, half-reap'd field, 
And here till sun-down, shepherd! will I be. 
Through the thick corn the scarlet poppies peep, 
And round green roots and yellowing stalks I see 
Pale pink convolvulus in tendrils creep; 
And air-swept lindens yield 
Their scent, and rustle down their perfumed showers 
Of bloom on the bent grass where I am laid, 
And bower me from the August sun with shade; 
And the eye travels down to Oxford's towers. 

And near me on the grass lies Glanvil's book— 
Come, let me read the oft-read tale again! 
The story of the Oxford scholar poor, 
Of pregnant parts and quick inventive brain, 
Who, tired of knocking at preferment's door, 
One summer-morn forsook 
His friends, and went to learn the gipsy-lore, 
And roam'd the world with that wild brotherhood, 
And came, as most men deem'd, to little good, 
But came to Oxford and his friends no more. 

But once, years after, in the country-lanes, 
Two scholars, whom at college erst he knew, 
Met him, and of his way of life enquired; 
Whereat he answer'd, that the gipsy-crew, 
His mates, had arts to rule as they desired 
The workings of men's brains, 
And they can bind them to what thoughts they will. 
"And I," he said, "the secret of their art, 
When fully learn'd, will to the world impart; 
But it needs heaven-sent moments for this skill." 

This said, he left them, and return'd no more.— 
But rumours hung about the country-side, 
That the lost Scholar long was seen to stray, 
Seen by rare glimpses, pensive and tongue-tied, 
In hat of antique shape, and cloak of grey, 
The same the gipsies wore. 
Shepherds had met him on the Hurst in spring; 
At some lone alehouse in the Berkshire moors, 
On the warm ingle-bench, the smock-frock'd boors 
Had found him seated at their entering, 

But, 'mid their drink and clatter, he would fly. 
And I myself seem half to know thy looks, 
And put the shepherds, wanderer! on thy trace; 
And boys who in lone wheatfields scare the rooks 
I ask if thou hast pass'd their quiet place; 
Or in my boat I lie 
Moor'd to the cool bank in the summer-heats, 
'Mid wide grass meadows which the sunshine fills, 
And watch the warm, green-muffled Cumner hills, 
And wonder if thou haunt'st their shy retreats. 

For most, I know, thou lov'st retired ground! 
Thee at the ferry Oxford riders blithe, 
Returning home on summer-nights, have met 
Crossing the stripling Thames at Bab-lock-hithe, 
Trailing in the cool stream thy fingers wet, 
As the punt's rope chops round; 
And leaning backward in a pensive dream, 
And fostering in thy lap a heap of flowers 
Pluck'd in shy fields and distant Wychwood bowers, 
And thine eyes resting on the moonlit stream. 

And then they land, and thou art seen no more!— 
Maidens, who from the distant hamlets come 
To dance around the Fyfield elm in May, 
Oft through the darkening fields have seen thee roam, 
Or cross a stile into the public way. 
Oft thou hast given them store 
Of flowers—the frail-leaf'd, white anemony, 
Dark bluebells drench'd with dews of summer eves, 
And purple orchises with spotted leaves— 
But none hath words she can report of thee. 

And, above Godstow Bridge, when hay-time's here 
In June, and many a scythe in sunshine flames, 
Men who through those wide fields of breezy grass 
Where black-wing'd swallows haunt the glittering Thames, 
To bathe in the abandon'd lasher pass, 
Have often pass'd thee near 
Sitting upon the river bank o'ergrown; 
Mark'd thine outlandish garb, thy figure spare, 
Thy dark vague eyes, and soft abstracted air— 
But, when they came from bathing, thou wast gone! 

At some lone homestead in the Cumner hills, 
Where at her open door the housewife darns, 
Thou hast been seen, or hanging on a gate 
To watch the threshers in the mossy barns. 
Children, who early range these slopes and late 
For cresses from the rills, 
Have known thee eyeing, all an April-day, 
The springing pasture and the feeding kine; 
And mark'd thee, when the stars come out and shine, 
Through the long dewy grass move slow away. 

In autumn, on the skirts of Bagley Wood— 
Where most the gipsies by the turf-edged way 
Pitch their smoked tents, and every bush you see 
With scarlet patches tagg'd and shreds of grey, 
Above the forest-ground called Thessaly— 
The blackbird, picking food, 
Sees thee, nor stops his meal, nor fears at all; 
So often has he known thee past him stray, 
Rapt, twirling in thy hand a wither'd spray, 
And waiting for the spark from heaven to fall. 

And once, in winter, on the causeway chill 
Where home through flooded fields foot-travellers go, 
Have I not pass'd thee on the wooden bridge, 
Wrapt in thy cloak and battling with the snow, 
Thy face tow'rd Hinksey and its wintry ridge? 
And thou has climb'd the hill, 
And gain'd the white brow of the Cumner range; 
Turn'd once to watch, while thick the snowflakes fall, 
The line of festal light in Christ-Church hall— 
Then sought thy straw in some sequester'd grange. 

But what—I dream! Two hundred years are flown 
Since first thy story ran through Oxford halls, 
And the grave Glanvil did the tale inscribe 
That thou wert wander'd from the studious walls 
To learn strange arts, and join a gipsy-tribe; 
And thou from earth art gone 
Long since, and in some quiet churchyard laid— 
Some country-nook, where o'er thy unknown grave 
Tall grasses and white flowering nettles wave, 
Under a dark, red-fruited yew-tree's shade. 

—No, no, thou hast not felt the lapse of hours! 
For what wears out the life of mortal men? 
'Tis that from change to change their being rolls; 
'Tis that repeated shocks, again, again, 
Exhaust the energy of strongest souls 
And numb the elastic powers. 
Till having used our nerves with bliss and teen, 
And tired upon a thousand schemes our wit, 
To the just-pausing Genius we remit 
Our worn-out life, and are—what we have been. 

Thou hast not lived, why should'st thou perish, so? 
Thou hadst one aim, one business, one desire; 
Else wert thou long since number'd with the dead! 
Else hadst thou spent, like other men, thy fire! 
The generations of thy peers are fled, 
And we ourselves shall go; 
But thou possessest an immortal lot, 
And we imagine thee exempt from age 
And living as thou liv'st on Glanvil's page, 
Because thou hadst—what we, alas! have not. 

For early didst thou leave the world, with powers 
Fresh, undiverted to the world without, 
Firm to their mark, not spent on other things; 
Free from the sick fatigue, the languid doubt, 
Which much to have tried, in much been baffled, brings. 
O life unlike to ours! 
Who fluctuate idly without term or scope, 
Of whom each strives, nor knows for what he strives, 
And each half lives a hundred different lives; 
Who wait like thee, but not, like thee, in hope. 

Thou waitest for the spark from heaven! and we, 
Light half-believers of our casual creeds, 
Who never deeply felt, nor clearly will'd, 
Whose insight never has borne fruit in deeds, 
Whose vague resolves never have been fulfill'd; 
For whom each year we see 
Breeds new beginnings, disappointments new; 
Who hesitate and falter life away, 
And lose to-morrow the ground won to-day— 
Ah! do not we, wanderer! await it too? 

Yes, we await it!—but it still delays, 
And then we suffer! and amongst us one, 
Who most has suffer'd, takes dejectedly 
His seat upon the intellectual throne; 
And all his store of sad experience he 
Lays bare of wretched days; 
Tells us his misery's birth and growth and signs, 
And how the dying spark of hope was fed, 
And how the breast was soothed, and how the head, 
And all his hourly varied anodynes. 

This for our wisest! and we others pine, 
And wish the long unhappy dream would end, 
And waive all claim to bliss, and try to bear; 
With close-lipp'd patience for our only friend, 
Sad patience, too near neighbour to despair— 
But none has hope like thine! 
Thou through the fields and through the woods dost stray, 
Roaming the country-side, a truant boy, 
Nursing thy project in unclouded joy, 
And every doubt long blown by time away. 

O born in days when wits were fresh and clear, 
And life ran gaily as the sparkling Thames; 
Before this strange disease of modern life, 
With its sick hurry, its divided aims, 
Its heads o'ertax'd, its palsied hearts, was rife— 
Fly hence, our contact fear! 
Still fly, plunge deeper in the bowering wood! 
Averse, as Dido did with gesture stern 
From her false friend's approach in Hades turn, 
Wave us away, and keep thy solitude! 

Still nursing the unconquerable hope, 
Still clutching the inviolable shade, 
With a free, onward impulse brushing through, 
By night, the silver'd branches of the glade— 
Far on the forest-skirts, where none pursue, 
On some mild pastoral slope 
Emerge, and resting on the moonlit pales 
Freshen thy flowers as in former years 
With dew, or listen with enchanted ears, 
From the dark tingles, to the nightingales! 

But fly our paths, our feverish contact fly! 
For strong the infection of our mental strife, 
Which, though it gives no bliss, yet spoils for rest; 
And we should win thee from thy own fair life, 
Like us distracted, and like us unblest. 
Soon, soon thy cheer would die, 
Thy hopes grow timorous, and unfix'd thy powers, 
And thy clear aims be cross and shifting made; 
And then thy glad perennial youth would fade, 
Fade and grow old at last, and die like ours. 

Then fly our greetings, fly our speech and smiles! 
—As some grave Tyrian trader, from the sea, 
Descried at sunrise an emerging prow 
Lifting the cool-hair'd creepers stealthily, 
The fringes of a southward-facing brow 
Among the Ægæan Isles; 
And saw the merry Grecian coaster come, 
Freighted with amber grapes, and Chian wine, 
Green, bursting figs, and tunnies steep'd in brine— 
And knew the intruders on his ancient home, 

The young light-hearted masters of the waves— 
And snatch'd his rudder, and shook out more sail; 
And day and night held on indignantly 
O'er the blue Midland waters with the gale, 
Betwixt the Syrtes and soft Sicily, 
To where the Atlantic raves 
Outside the western straits; and unbent sails 
There, where down cloudy cliffs, through sheets of foam, 
Shy traffickers, the dark Iberians come; 
And on the beach undid his corded bales. 

Source: https://www.poetryfoundation.org/poems/43606/the-scholar-gipsy

Sunday, 3 February 2019

Andrea del Sarto - Robert Browining

Andrea del Sarto

Browning, Robert (1812 - 1889)

Original Text: 
Robert Browning, Men and Women, 2 vols. (1855). Rev. 1863.

2No, my Lucrezia; bear with me for once:
3Sit down and all shall happen as you wish.
4You turn your face, but does it bring your heart?
5I'll work then for your friend's friend, never fear,
6Treat his own subject after his own way,
7Fix his own time, accept too his own price,
8And shut the money into this small hand
9When next it takes mine. Will it? tenderly?
10Oh, I'll content him,--but to-morrow, Love!
11I often am much wearier than you think,
12This evening more than usual, and it seems
13As if--forgive now--should you let me sit
14Here by the window with your hand in mine
15And look a half-hour forth on Fiesole,
16Both of one mind, as married people use,
17Quietly, quietly the evening through,
18I might get up to-morrow to my work
19Cheerful and fresh as ever. Let us try.
20To-morrow, how you shall be glad for this!
21Your soft hand is a woman of itself,
22And mine the man's bared breast she curls inside.
23Don't count the time lost, neither; you must serve
24For each of the five pictures we require:
25It saves a model. So! keep looking so--
26My serpentining beauty, rounds on rounds!
27--How could you ever prick those perfect ears,
28Even to put the pearl there! oh, so sweet--
29My face, my moon, my everybody's moon,
30Which everybody looks on and calls his,
31And, I suppose, is looked on by in turn,
32While she looks--no one's: very dear, no less.
33You smile? why, there's my picture ready made,
34There's what we painters call our harmony!
35A common greyness silvers everything,--
36All in a twilight, you and I alike
37--You, at the point of your first pride in me
38(That's gone you know),--but I, at every point;
39My youth, my hope, my art, being all toned down
40To yonder sober pleasant Fiesole.
41There's the bell clinking from the chapel-top;
42That length of convent-wall across the way
43Holds the trees safer, huddled more inside;
44The last monk leaves the garden; days decrease,
45And autumn grows, autumn in everything.
46Eh? the whole seems to fall into a shape
47As if I saw alike my work and self
48And all that I was born to be and do,
49A twilight-piece. Love, we are in God's hand.
50How strange now, looks the life he makes us lead;
51So free we seem, so fettered fast we are!
52I feel he laid the fetter: let it lie!
53This chamber for example--turn your head--
54All that's behind us! You don't understand
55Nor care to understand about my art,
56But you can hear at least when people speak:
58--It is the thing, Love! so such things should be--
59Behold Madonna!--I am bold to say.
60  I can do with my pencil what I know,
61What I see, what at bottom of my heart
62I wish for, if I ever wish so deep--
63Do easily, too--when I say, perfectly,
64I do not boast, perhaps: yourself are judge,
65Who listened to the Legate's talk last week,
66And just as much they used to say in France.
67At any rate 'tis easy, all of it!
68No sketches first, no studies, that's long past:
69I do what many dream of, all their lives,
70--Dream? strive to do, and agonize to do,
71And fail in doing. I could count twenty such
72On twice your fingers, and not leave this town,
73Who strive--you don't know how the others strive
74To paint a little thing like that you smeared
75Carelessly passing with your robes afloat,--
76Yet do much less, so much less, Someone says,
77(I know his name, no matter)--so much less!
78Well, less is more, Lucrezia: I am judged.
79There burns a truer light of God in them,
80In their vexed beating stuffed and stopped-up brain,
81Heart, or whate'er else, than goes on to prompt
82This low-pulsed forthright craftsman's hand of mine.
83Their works drop groundward, but themselves, I know,
84Reach many a time a heaven that's shut to me,
85Enter and take their place there sure enough,
86Though they come back and cannot tell the world.
87My works are nearer heaven, but I sit here.
88The sudden blood of these men! at a word--
89Praise them, it boils, or blame them, it boils too.
90I, painting from myself and to myself,
91Know what I do, am unmoved by men's blame
92Or their praise either. Somebody remarks
93Morello's outline there is wrongly traced,
94His hue mistaken; what of that? or else,
95Rightly traced and well ordered; what of that?
96Speak as they please, what does the mountain care?
97Ah, but a man's reach should exceed his grasp,
98Or what's a heaven for? All is silver-grey,
99Placid and perfect with my art: the worse!
100I know both what I want and what might gain,
101And yet how profitless to know, to sigh
102"Had I been two, another and myself,
103"Our head would have o'erlooked the world!" No doubt.
104Yonder's a work now, of that famous youth
106('Tis copied, George Vasari sent it me.)
107Well, I can fancy how he did it all,
108Pouring his soul, with kings and popes to see,
109Reaching, that heaven might so replenish him,
110Above and through his art--for it gives way;
111That arm is wrongly put--and there again--
112A fault to pardon in the drawing's lines,
113Its body, so to speak: its soul is right,
114He means right--that, a child may understand.
115Still, what an arm! and I could alter it:
116But all the play, the insight and the stretch--
117(Out of me, out of me! And wherefore out?
118Had you enjoined them on me, given me soul,
119We might have risen to Rafael, I and you!
120Nay, Love, you did give all I asked, I think--
121More than I merit, yes, by many times.
122But had you--oh, with the same perfect brow,
123And perfect eyes, and more than perfect mouth,
124And the low voice my soul hears, as a bird
125The fowler's pipe, and follows to the snare --
126Had you, with these the same, but brought a mind!
127Some women do so. Had the mouth there urged
128"God and the glory! never care for gain.
129"The present by the future, what is that?
131"Rafael is waiting: up to God, all three!"
132I might have done it for you. So it seems:
133Perhaps not. All is as God over-rules.
134Beside, incentives come from the soul's self;
135The rest avail not. Why do I need you?
136What wife had Rafael, or has Agnolo?
137In this world, who can do a thing, will not;
138And who would do it, cannot, I perceive:
139Yet the will's somewhat--somewhat, too, the power--
140And thus we half-men struggle. At the end,
141God, I conclude, compensates, punishes.
142'Tis safer for me, if the award be strict,
143That I am something underrated here,
144Poor this long while, despised, to speak the truth.
145I dared not, do you know, leave home all day,
146For fear of chancing on the Paris lords.
147The best is when they pass and look aside;
148But they speak sometimes; I must bear it all.
149Well may they speak! That Francis, that first time,
150And that long festal year at Fontainebleau!
151I surely then could sometimes leave the ground,
152Put on the glory, Rafael's daily wear,
153In that humane great monarch's golden look,--
154One finger in his beard or twisted curl
155Over his mouth's good mark that made the smile,
156One arm about my shoulder, round my neck,
157The jingle of his gold chain in my ear,
158I painting proudly with his breath on me,
159All his court round him, seeing with his eyes,
160Such frank French eyes, and such a fire of souls
161Profuse, my hand kept plying by those hearts,--
162And, best of all, this, this, this face beyond,
163This in the background, waiting on my work,
164To crown the issue with a last reward!
165A good time, was it not, my kingly days?
166And had you not grown restless... but I know--
167'Tis done and past: 'twas right, my instinct said:
168Too live the life grew, golden and not grey,
169And I'm the weak-eyed bat no sun should tempt
170Out of the grange whose four walls make his world.
171How could it end in any other way?
172You called me, and I came home to your heart.
173The triumph was--to reach and stay there; since
174I reached it ere the triumph, what is lost?
175Let my hands frame your face in your hair's gold,
176You beautiful Lucrezia that are mine!
177"Rafael did this, Andrea painted that;
178"The Roman's is the better when you pray,
179"But still the other's Virgin was his wife--"
180Men will excuse me. I am glad to judge
181Both pictures in your presence; clearer grows
182My better fortune, I resolve to think.
183For, do you know, Lucrezia, as God lives,
184Said one day Agnolo, his very self,
185To Rafael . . . I have known it all these years . . .
186(When the young man was flaming out his thoughts
187Upon a palace-wall for Rome to see,
188Too lifted up in heart because of it)
189"Friend, there's a certain sorry little scrub
190"Goes up and down our Florence, none cares how,
191"Who, were he set to plan and execute
192"As you are, pricked on by your popes and kings,
193"Would bring the sweat into that brow of yours!"
194To Rafael's!--And indeed the arm is wrong.
195I hardly dare . . . yet, only you to see,
196Give the chalk here--quick, thus, the line should go!
197Ay, but the soul! he's Rafael! rub it out!
198Still, all I care for, if he spoke the truth,
199(What he? why, who but Michel Agnolo?
200Do you forget already words like those?)
201If really there was such a chance, so lost,--
202Is, whether you're--not grateful--but more pleased.
203Well, let me think so. And you smile indeed!
204This hour has been an hour! Another smile?
205If you would sit thus by me every night
206I should work better, do you comprehend?
207I mean that I should earn more, give you more.
208See, it is settled dusk now; there's a star;
209Morello's gone, the watch-lights show the wall,
210The cue-owls speak the name we call them by.
211Come from the window, love,--come in, at last,
212Inside the melancholy little house
213We built to be so gay with. God is just.
214King Francis may forgive me: oft at nights
215When I look up from painting, eyes tired out,
216The walls become illumined, brick from brick
217Distinct, instead of mortar, fierce bright gold,
218That gold of his I did cement them with!
219Let us but love each other. Must you go?
220That Cousin here again? he waits outside?
221Must see you--you, and not with me? Those loans?
222More gaming debts to pay? you smiled for that?
223Well, let smiles buy me! have you more to spend?
224While hand and eye and something of a heart
225Are left me, work's my ware, and what's it worth?
226I'll pay my fancy. Only let me sit
227The grey remainder of the evening out,
228Idle, you call it, and muse perfectly
229How I could paint, were I but back in France,
230One picture, just one more--the Virgin's face,
231Not yours this time! I want you at my side
232To hear them--that is, Michel Agnolo--
233Judge all I do and tell you of its worth.
234Will you? To-morrow, satisfy your friend.
235I take the subjects for his corridor,
236Finish the portrait out of hand--there, there,
237And throw him in another thing or two
238If he demurs; the whole should prove enough
239To pay for this same Cousin's freak. Beside,
240What's better and what's all I care about,
241Get you the thirteen scudi for the ruff!
242Love, does that please you? Ah, but what does he,
243The Cousin! what does he to please you more?
244I am grown peaceful as old age to-night.
245I regret little, I would change still less.
246Since there my past life lies, why alter it?
247The very wrong to Francis!--it is true
248I took his coin, was tempted and complied,
249And built this house and sinned, and all is said.
250My father and my mother died of want.
251Well, had I riches of my own? you see
252How one gets rich! Let each one bear his lot.
253They were born poor, lived poor, and poor they died:
254And I have laboured somewhat in my time
255And not been paid profusely. Some good son
256Paint my two hundred pictures--let him try!
257No doubt, there's something strikes a balance. Yes,
258You loved me quite enough. it seems to-night.
259This must suffice me here. What would one have?
260In heaven, perhaps, new chances, one more chance--
261Four great walls in the New Jerusalem,
262Meted on each side by the angel's reed,
264To cover--the three first without a wife,
265While I have mine! So--still they overcome
266Because there's still Lucrezia,--as I choose.
267Again the Cousin's whistle! Go, my Love.



Notes

1]First published in Men and Women, 1855. Again Browning draws upon Giorgio Vasari's Lives of the Painters (published in 1550) for the details of Andrea's life. Andrea (1486-1531) was the son of a tailor in Florence; hence the name "del Sarto." From 1509-14, having served his apprenticeship and learned his craft, he was engaged to do a series of frescoes for the Church of the Annunciation in Florence, and then to do another series for the Church of the Recollets. It was these pauntings that secured his fame and earned him the title "Il Pittore senza Errori"--the faultless painter. During this period he married Lucrezia del Fede, a widow, who served as a model for a number of his pictures. In 1518, Andrea was invited by Francis I of France to come to the court at Fontainebleau. The next year Francis gave him money to be used in the purchase of pictures in Florence for the palace of Fontainebleau, and Andrea left France on this commission. According to Vasari, through Lucrecia's persuasion Andrea used the king's money to build himself a house in Florence, never daring to return to France, and in effect destroying "the eminence he had attained with so much labour." Much of Vasari's story has been doubted by modern scholars; nor are they inclined to share Vasari's (and Browning's) view of the limitations of Andrea's art. The accuracy of Browning's poem as biography or as art criticism is, however, of doubtful relevance to its success or to its meaning.
57]Cartoon: a preliminary sketch on paper, usually in charcoal or crayon, working out the composition or detail for a painting.
105]Urbinate: the painter Raphael (1483-1520) was born in Urbino, near Florence.
130]Agnolo: Michaelangelo (1475-1564).
263]Leonard: Leonardo da Vinci (1452-1519).    Source : https://rpo.library.utoronto.ca/poems/andrea-del-sarto