Men and Women

JOHANNES AGRICOLA IN MEDITATION

1842There's heaven above, and night by nightI look right through its gorgeous roof;No suns and moons though e'er so brightAvail to stop me; splendor-proofI keep the broods of stars aloof:For I intend to get to God,For 't is to God I speed so fast,For in God's breast, my own abode,Those shoals of dazzling glory, passed,I lay my spirit down at last.I lie where I have always lain,God smiles as he has always smiled;Ere suns and moons could wax and wane,Ere stars were thundergirt, or piledThe heavens, God thought on me his child;Ordained a life for me, arrayedIts circumstances every oneTo the minutest; ay, God saidThis head this hand should rest uponThus, ere he fashioned star or sun.And having thus created me,Thus rooted me, he bade me grow,Guiltless forever, like a treeThat buds and blooms, nor seeks to knowThe law by which it prospers so:But sure that thought and word and deedAll go to swell his love for me,Me, made because that love had needOf something irreversiblyPledged solely its content to be.Yes, yes, a tree which must ascend,No poison-gourd foredoomed to stoop!I have God's warrant, could I blendAll hideous sins, as in a cup,To drink the mingled venoms up;Secure my nature will convertThe draught to blossoming gladness fast:While sweet dews turn to the gourd's hurt,And bloat, and while they bloat it, blast,As from the first its lot was cast.For as I lie, smiled on, full-fedBy unexhausted power to bless,I gaze below on hell's fierce bed,And those its waves of flame oppress,Swarming in ghastly wretchedness;Whose life on earth aspired to beOne altar-smoke, so pure!—to winIf not love like God's love for me,At least to keep his anger in;And all their striving turned to sin.Priest, doctor, hermit, monk grown whiteWith prayer, the broken-hearted nun,The martyr, the wan acolyte,The incense-swinging child—undoneBefore God fashioned star or sun!God, whom I praise; how could I praise,If such as I might understand,Make out and reckon on his ways,And bargain for his love, and stand,Paying a price, at his right hand?NOTES

"Johannes Agricola in Meditation" presents the doctrine of predestination as it appears to a devout and poetic soul whose conviction of the truth of such a doctrine has the strength of a divine revelation. Those elected for God's love can do nothing to weaken it, those not elected can do nothing to gain it, but it is not his to reason why; indeed, he could not praise a god whose ways he could understand or for whose love he had to bargain.

Johannes Agricola: (1492-1566), Luther's secretary, 1519, afterward in conflict with him, and author of the doctrine called by Luther antinomian, because it rejected the Law of the Old Testament as of no use under the Gospel dispensation. In a note accompanying the first publication of this poem, Browning quotes from "The Dictionary of All Religions" (1704): "They say that good works do not further, nor evil works hinder salvation; that the child of God cannot sin, that God never chastiseth him, that murder, drunkenness, etc., are sins in the wicked but not in him, that the child of grace being once assured of salvation, afterwards never doubteth . . . that God doth not love any man for his holiness, that sanctification is no evidence of justification." Though many antinomians taught thus, says George Willis Cooke in his "Browning Guide Book," it does not correctly represent the position of Agricola, who in reality held moral obligations to be incumbent upon the Christian, but for guidance in these he found in the New Testament all the principles and motives necessary.

PICTOR IGNOTUS

FLORENCE, 15-1845I could have painted pictures like that youth'sYe praise so. How my soul springs up! No barStayed me—ah, thought which saddens while it soothes!—Never did fate forbid me, star by star,To outburst on your night with all my giftOf fires from God: nor would my flesh have shrunkFrom seconding my soul, with eyes upliftAnd wide to heaven, or, straight like thunder, sunkTo the centre, of an instant; or aroundTurned calmly and inquisitive, to scanThe license and the limit, space and bound,Allowed to truth made visible in man.And, like that youth ye praise so, all I saw,Over the canvas could my hand have flung,Each face obedient to its passion's law,Each passion clear proclaimed without a tongue;Whether Hope rose at once in all the blood,A-tiptoe for the blessing of embrace,Or Rapture drooped the eyes, as when her broodPull down the nesting dove's heart to its place;Or Confidence lit swift the forehead up,And locked the mouth fast, like a castle braved—0 human faces, hath it spilt, my cup?What did ye give me that I have not saved?Nor will I say I have not dreamed (how well!)Of going—I, in each new picture—forth,As, making new hearts beat and bosoms swell,To Pope or Kaiser, East, West, South, or North,Bound for the calmly-satisfied great State,Or glad aspiring little burgh, it went,Flowers cast upon the car which bore the freight,Through old streets named afresh from the event,Till it reached home, where learned age should greetMy face, and youth, the star not yet distinctAbove his hair, lie learning at my feet!—Oh, thus to live, I and my picture, linkedWith love about, and praise, till life should end,And then not go to heaven, but linger here,Here on my earth, earth's every man my friend—The thought grew frightful, 't was so wildly dear!But a voice changed it. Glimpses of such sightsHave scared me, like the revels through a doorOf some strange house of idols at its rites!This world seemed not the world it was before:Mixed with my loving trusting ones, there trooped. . . Who summoned those cold faces that begunTo press on me and judge me? Though I stoopedShrinking, as from the soldiery a nun,They drew me forth, and spite of me . . . enough!These buy and sell our pictures, take and give,Count them for garniture and household-stuff,And where they live needs must our pictures liveAnd see their faces, listen to their prate,Partakers of their daily pettiness,Discussed of—"This I love, or this I hate,This likes me more, and this affects me less!"Wherefore I chose my portion. If at whilesMy heart sinks, as monotonous I paintThese endless cloisters and eternal aislesWith the same series. Virgin, Babe and Saint,With the same cold calm beautiful regard—At least no merchant traffics in my heart;The sanctuary's gloom at least shall wardVain tongues from where my pictures stand apart;Only prayer breaks the silence of the shrineWhile, blackening in the daily candle-smoke,They moulder on the damp wall's travertine17,'Mid echoes the light footstep never woke.So, die my pictures! surely, gently die!O youth, men praise so—holds their praise its worth?Blown harshly, keeps the trump its golden cry?Tastes sweet the water with such specks of earth?NOTES

"Pictor Ignotus" is a reverie characteristic of a monastic painter of the Renaissance who recognizes, in the genius of a youth whose pictures are praised, a gift akin to his own, but which he has never so exercised, spite of the joy such free human expression and recognition of his power would have given him, because he could not bear to submit his art to worldly contact. So he has chosen to sink his name in unknown service to the Church, and to devote his fancy to pure and beautiful but cold and monotonous repetitions of sacred themes. His gentle regret that his own pictures will moulder unvisited is half wonderment that the youth can endure the sullying of his work by secular fame.

FRA LIPPO LIPPI

1855I am poor brother Lippo, by your leave!You need not clap your torches to my face.Zooks, what's to blame? you think you see a monk!What, 'tis past midnight, and you go the rounds,And here you catch me at an alley's endWhere sportive ladies leave their doors ajar?The Carmine's18 my cloister: hunt it up,Do—harry out, if you must show your zeal,Whatever rat, there, haps on his wrong hole,And nip each softling of a wee white mouse,, , that's crept to keep him company!Aha, you know your betters! Then, you'll takeYour hand away that's fiddling on my throat,And please to know me likewise. Who am I?Why, one, sir, who is lodging with a friendThree streets off—he's a certain . . . how d'ye call?Master—a . . . Cosimo19 of the Medici,I' the house that caps the corner. Boh! you were best!Remember and tell me, the day you're hanged,How you affected such a gullet's-gripe!But you, sir, it concerns you that your knavesPick up a manner nor discredit you:Zooks, are we pilchards20, that they sweep the streetsAnd count fair prize what comes into their net?He's Judas to a tittle, that man is!Just such a face! Why, sir, you make amends.Lord, I'm not angry! Bid your hangdogs goDrink out this quarter-florin to the healthOf the munificent House that harbors me(And many more beside, lads! more beside!)And all's come square again. I'd like his face—His, elbowing on his comrade in the doorWith the pike and lantern—for the slave that holdsJohn Baptist's head a-dangle by the hairWith one hand ("Look you, now," as who should say)And his weapon in the other, yet unwiped!It's not your chance to have a bit of chalk,A wood-coal or the like? or you should see!Yes, I'm the painter, since you style me so.What, brother Lippo's doings, up and down,You know them and they take you? like enough!I saw the proper twinkle in your eye—'Tell you, I liked your looks at very first.Let's sit and set things straight now, hip to haunch.Here's spring come, and the nights one makes up bandsTo roam the town and sing out carnival,And I've been three weeks shut within my mew,A-painting for the great man, saints and saintsAnd saints again. I could not paint all night—Ouf! I leaned out of window for fresh air.There came a hurry of feet and little feet,A sweep of lute-strings, laughs, and whifts of song——and so on. Round they went.Scarce had they turned the corner when a titterLike the skipping of rabbits by moonlight—three slim shapes,And a face that looked up . . . zooks, sir, flesh and blood,That's all I'm made of! Into shreds it went,Curtain and counterpane and coverlet,All the bed-furniture—a dozen knots,There was a ladder! Down I let myself,Hands and feet, scrambling somehow, and so dropped,And after them. I came up with the funHard by Saint Laurence,22 hail fellow, well met—And so as I was stealing back againTo get to bed and have a bit of sleepEre I rise up to-morrow and go workOn Jerome knocking at his poor old breastWith his great round stone to subdue the flesh,You snap me of the sudden. Ah, I see!Though your eye twinkles still, you shake your head—Mine's shaved—a monk, you say—the sting's in that!If Master Cosimo announced himself,Mum's the word naturally; but a monk!Come, what am I a beast for? tell us, now!I was a baby when my mother diedAnd father died and left me in the street.I starved there. God knows how, a year or twoOn fig-skins, melon-parings, rinds and shucks,Refuse and rubbish. One fine frosty day,My stomach being empty as your hat,The wind doubled me up and down I went.Old Aunt Lapaccia23 trussed me with one hand,(Its fellow was a stinger as I knew)And so along the wall, over the bridge,By the straight cut to the convent. Six words there,While I stood munching my first bread that month:"So, boy, you're minded," quoth the good fat fatherWiping his own mouth, 't was refection-time—"To quit this very miserable world?Will you renounce" . . . "the mouthful of bread?" thought I;By no means! Brief, they made a monk of me;1 did renounce the world, its pride and greed,Palace, farm, villa, shop and banking-house,Trash, such as these poor devils of MediciHave given their hearts to—all at eight years old.Well, sir, I found in time, you may be sure,'T was not for nothing—the good bellyful,The warm serge and the rope that goes all round,And day-long blessed idleness beside!"Let's see what the urchin's fit for"—that came next,Not overmuch their way, I must confess.Such a to-do! They tried me with their books:Lord, they'd have taught me Latin in pure waste!But, mind you, when a boy starves in the streetsEight years together, as my fortune was,Watching folk's faces to know who will flingThe bit of half-stripped grape-bunch he desires,And who will curse or kick him for his pains,Which gentleman processional and fine,Holding a candle to the Sacrament,Will wink and let him lift a plate and catchThe droppings of the wax to sell again,Or holla for the Eight24 and have him whipped,How say I?—nay, which dog bites?, which lets dropHis bone from the heap of offal in the street—Why, soul and sense of him grow sharp alike,He learns the look of things, and none the lessFor admonition from the hunger-pinch.I had a store of such remarks, be sure,Which, after I found leisure, turned to use.I drew men's faces on my copy-books,Scrawled them within the antiphonary's25 marge,Joined legs and arms to the long music-notes,26Found eyes and nose and chin for A's and B's,And made a string of pictures of the worldBetwixt the ins and outs of verb and noun,On the wall, the bench, the door. The monks looked black."Nay," quoth the Prior, "turn him out, d' ye say?In no wise. Lose a crow and catch a lark.What if at last we get our man of parts,We Carmelites, like those Camaldolese27And Preaching Friars, to do our church up fineAnd put the front on it that ought to be!"And hereupon he bade me daub away.Thank you! my head being crammed, the walls a blank,Never was such prompt disemburdening.First, every sort of monk, the black and white,I drew them, fat and lean : then, folk at church,From good old gossips waiting to confessTheir cribs of barrel-droppings, candle-ends—To the breathless fellow at the altar-foot,Fresh from his murder, safe and sitting thereWith the little children round him in a rowOf admiration, half for his beard and halfFor that white anger of his victim's sonShaking a fist at him with one fierce arm,Signing himself with the other because of Christ(Whose sad face on the cross sees only thisAfter the passion of a thousand years)Till some poor girl, her apron o'er her head,(Which the intense eyes looked through) came at eveOn tiptoe, said a word, dropped in a loaf,Her pair of earrings and a bunch of flowers(The brute took growling), prayed, and so was gone,I painted all, then cried "'T is ask and have;Choose, for more's ready!"—laid the ladder flat,And showed my covered bit of cloister-wall.The monks closed in a circle and praised loudTill checked, taught what to see and not to see,Being simple bodies—"That's the very man!Look at the boy who stoops to pat the dog!That woman's like the Prior's niece who comesTo care about his asthma: it's the life!"But there my triumph's straw-fire flared and funked;Their betters took their turn to see and say:The Prior and the learned pulled a faceAnd stopped all that in no time. "How? what's here?Quite from the mark of painting, bless us all!Faces, arms, legs and bodies like the trueAs much as pea and pea! it's devil's-game!Your business is not to catch men with show,With homage to the perishable clay,But lift them over it, ignore it all,Make them forget there's such a thing as flesh.Your business is to paint the souls of men—Man's soul, and it's a fire, smoke . . . no, it's not . . .It's vapor done up like a new-born babe—(In that shape when you die it leaves your mouth)It's . . . well, what matters talking, it's the soul!Give us no more of body than shows soul!Here's Giotto,28 with his Saint a-praising God,That sets us praising—why not stop with him?Why put all thoughts of praise out of our headWith wonder at lines, colors, and what not?Paint the soul, never mind the legs and arms!Rub all out, try at it a second time.Oh, that white smallish female with the breasts,She's just my niece . . . Herodias,29 I would say—Who went and danced and got men's heads cut off!Have it all out! "Now, is this sense, I ask?A fine way to paint soul, by painting bodySo ill, the eye can't stop there, must go furtherAnd can't fare worse! Thus, yellow does for whiteWhen what you put for yellow's simply black,And any sort of meaning looks intenseWhen all beside itself means and looks naught.Why can't a painter lift each foot in turn,Left foot and right foot, go a double step,Make his flesh liker and his soul more like,Both in their order? Take the prettiest face,The Prior's niece . . . patron-saint—is it so prettyYou can't discover if it means hope, fear,Sorrow or joy? won't beauty go with these?Suppose I've made her eyes all right and blue,Can't I take breath and try to add life's flash,And then add soul and heighten them three-fold?Or say there's beauty with no soul at all—(I never saw it—put the case the same—)If you get simple beauty and naught else,You get about the best thing God invents:That's somewhat: and you'll find the soul you have missed,Within yourself, when you return him thanks."Rub all out! "Well, well, there's my life, in short,And so the thing has gone on ever since.I'm grown a man no doubt, I've broken bounds:You should not take a fellow eight years oldAnd make him swear to never kiss the girls.I'm my own master, paint now as I please—Having a friend, you see, in the Corner-house!Lord, it's fast holding by the rings in front—Those great rings serve more purposes than justTo plant a flag in, or tie up a horse!And yet the old schooling sticks, the old grave eyesAre 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's30 the man, you'll find;Brother Lorenzo31 stands his single peer:Fag on at flesh, you'll never make the third!"I'm not the third, then: bless us, they must know!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 paintTo please them—sometimes do and sometimes don't;For, doing most, there's pretty sure to comeA 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,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 grassAfter hard years, throws up his stiff heels so,Although the miller does not preach to himThe 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 thingSettled forever one way. As it is,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 thereA-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.But see, now—why, I see as certainlyAs that the morning-star's about to shine,What will hap some day. We've a youngster hereComes to our convent, studies what I do,Slouches and stares and lets no atom drop:His name is Guidi32—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!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?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 theseJust as they are, careless what comes of it?God's works—paint any one, and count it crimeTo let a truth slip. Don't object, "His worksAre 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 loveFirst when we see them painted, things we have passedPerhaps 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,Interpret God to all of you! Oh, oh,It makes me mad to see what men shall doAnd 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 plainIt does not say to folk—remember matins,Or, mind you fast next Friday! "Why, for thisWhat need of art at all? A skull and bones,Two bits of stick nailed crosswise, or, what's best,A bell to chime the hour with, does as well.I painted a Saint Laurence33 six months sinceAt 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 slavesWho turn the Deacon off his toasted side,But's scratched and prodded to our heart's content,The pious people have so eased their ownWith 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 wordSpoke in a huff by a poor monk. God wot,Tasting the air this spicy night which turnsThe unaccustomed head like Chianti wine!Oh, the church knows! don't misreport me, now!It's natural a poor monk out of boundsShould 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, seeSomething in Sant' Ambrogio's!34 Bless the nuns!They want a cast o' my office. I shall paintGod in the midst. Madonna and her babe,Ringed by a bowery flowery angel-brood,Lilies and vestments and white faces, sweetAs puff on puff of grated orris-rootWhen ladies crowd to Church at midsummer.And then i' the front, of course a saint or two—Saint John,35 because he saves the Florentines,Saint Ambrose,36 who puts down in black and whiteThe convent's friends and gives them a long day,And Job, I must have him there past mistake,The man of Uz37 (and Us without the z,Painters who need his patience). Well, all theseSecured at their devotion, up shall comeOut 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 thingForward, 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,"38 So, all smile—I shuffle sideways with my blushing faceUnder the cover of a hundred wingsThrown like a spread of kirtles when you're gayAnd play hot cockles,39 all the doors being shut,Till, wholly unexpected, in there popsThe hothead husband! Thus I scuttle offTo some safe bench behind, not letting goThe palm of her, the little lily thingThat 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 churchA pretty picture gained. Go, six months hence!Your hand, sir, and good-bye: no lights, no lights!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.