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623. 108. Visor. A mask, like those worn by ancient actors. Term. A bust terminating in a square pedestal, like the representations of Terminus, god of boundaries.

109. Lynx.
An animal which figures
largely in representations of the Bacchic
orgies. All the objects mentioned in
11. 107-110 are commonly found on
ancient sarcophagi.

116. Gritstone. A coarse sandstone.

ANDREA DEL SARTO

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"This poem was suggested by a portrait of Andrea and his wife, painted by himself and now hanging in the Pitti Gallery at Florence. Andrea is a painter who ranks high among the contemporaries of Raphael and Michel Angelo, especially by reason of his technical execution, which was so perfect as to win for him the surname of The Faultless Painter.' Early in life he enjoyed the favor of Francis I, at whose court he for a time resided; but having received a large sum of money from Francis for the purchase of works of art in Italy, he, under the influence of his wife, a beautiful but unprincipled woman, embezzled it, applying it to the erection of a house for himself at Florence." (W. J. Alexander: Introduction to the Poetry of Robert Browning.)

15. Fiesole. A hill town near Florence. 26. Serpentining. Suggesting a certain sinuous, undulant type of beauty. 35-40. The key-note of the poem. 624. 57. Cartoon. A preliminary sketch, or working design.

82. Low-pulsed forthright craftsman's hand. Mechanically facile and accurate, but uninspired.

93. Morello.

A spur of the Apennines,

north of Florence. 105. The Urbinate.

Urbino, died 1520.

Raphael, born in

106. Vasari. Italian painter and writer of the 16th century, author of Lives of the Painters; he includes a life of Andrea, to which Browning is indebted for material in this poem.

625. 130. Agnolo. Michel Angelo.

146. The Paris lords. Courtiers of Francis I, who would have reproached Andrea for his embezzlement.

150. Fontainebleau. A royal palace near
Paris.

153. Humane.
patron of arts and letters, of the hu-
manities.

Francis was a great

155. Mouth's good mark that made the smile. Apparently means no more than smiling mouth.

626. 210. Cue-owls. So-called from the sound of their call; the Italian form is chiù. 220. Cousin. Lucrezia's gallant, who whistles for her to come to him.

626. 241. Scudi. Plural of scudo, a coin worth about a dollar; scudo means shield, and the coin bore on the obverse the shield of the prince who issued it. 627. 263. Leonard. Leonardo da Vinci.

PROSPICE

Written in the autumn following Mrs. Browning's death. The title means "Look forward."

ABT VOGLER

Abt (Abbé) Vogler (1749-1814), a German Catholic priest, and famous musician. He invented a new form of the organ, called the orchestrion, upon which he gave performances all over Europe, his improvisations being especially remarkable.

3. Solomon. According to Mohammedan legends, Solomon, thanks to a ring on which was engraved the name of God (1. 7), had control over the demons and genii of the underworld.

628. 23. Rome's dome. The dome of St.

Peter's.

34. Protoplast. "The first-formed," the original, the model; the figures of those not yet born, to be born in a happier future, are lured by the power of the music to appear before their time.

43-52. A comparison of the process of composition in three arts-painting, poetry, music: in the first two the process is subject to certain well understood laws; with music, on the other hand, the result appears to be produced by no tangible means, to be in subjection to no natural law. Hence the composer, in the freedom of his creation, approaches God, who creates by merely willing.

629. 91. Common chord. The chord produced by the combination cf any note with its third and fifth.

93. A ninth. An interval exceeding an octave by a tone (major), or by a semitone (minor).

96. C Major. The "natural" scale, having neither sharps nor flats. The last six lines of the poem give symbolic expression to the idea that from his supernal visions the musician descends gradually to the realities of every day.

RABBI BEN EZRA

Ben Ezra was a distinguished Jewish scholar of the twelfth century, noted especially for his commentaries on the Old Testament. The ideas expressed in the poem were to some extent suggested to the poet by Ben Ezra's writings, but Browning develops them in his own way, and makes the poem one of the best expressions of his philosophy of life.

17. Low kinds. The lower animals, living

but for the day, untroubled by doubt, uninspired by hope.

629. 24. The awkward inversions are characteristic of Browning: does care irk, etc.? does doubt fret, etc.?

630. 48. Its lone way. In Ben Ezra's commentary on the Psalms we find this sentence: "The soul of man is called lonely because it is separated, during its union with the body, from the Universal Soul into which it is again received when it departs from its.earthly companion."

49-72. Browning here argues against the ascetic ideal, so popular during the Middle Ages, which proclaimed that spiritual advancement was to be gained through mortification of the flesh.

74. Youth's heritage. The heritage of experience given to age by youth. 87. Leave the fire. If the fire leave. 631. 124, 125. Supply whom after I and they. 151. Potter's wheel. Cf. Isaiah, lxiv: 8: "We are the clay, and Thou our potter; and we are all the work of Thy hand." The metaphor is effectively used by Fitzgerald in his translation of the Rubáiyát of Omar Khayyám. See page 643, 1. 325 ff.

EPILOGUE TO ASOLANDO

632. This is Browning's final cheery word on the problem of life and death; it is the epilogue to his last volume of poems, entitled Asolando, published in London on the day Browning died in Venice. 5. Pity me? Will you pity me, dead? 17. The unseen. The dead; the author himself.

ELIZABETH BARRETT BROWNING

SONNETS FROM THE PORTUGUESE

This title serves to veil the fact that the sonnets are addressed to Robert Browning, and express with perfect sincerity Mrs. Browning's feeling about the love and marriage of the two poets. For an account of their origin see the Letters of Elizabeth Barrett Browning (Smith, Elder & Co., 1898), vol. I., pp. 316-17.

THE CRY OF THE CHILDREN

633. Occasioned by an official report on the employment of children in mines and factories. Mrs. Browning said of the rhythm: "The first stanza came into my head in a hurricane, and I was obliged to make the other stanzas like it." Letters, I. 156.

FITZGERALD

RUBAIYÁT OF OMAR KHAYYAM

636. Omar Khayyam (Omar the Tent-Maker), a Persian astronomer and poet, wrote

his Rubáiyát (a plural form; the singular rubáiy means quatrain) in the twelfth century. Fitzgerald describes them, and his own verses, as follows:

"The original Rubáiyát are independent Stanzas, consisting each of four Lines of equal, though varied, Prosody; sometimes all rhyming, but oftener (as here imitated) the third line a blank, sometimes as in the Greek Alcaic, where the penultimate line seems to lift and suspend the Wave that falls over in the last. As usual with such kind of Oriental Verse, the Rubáiyát follow one another according to Alphabetic Rhyme-a strange succession of Grave and Gay. Those here selected are strung into something of an Eclogue, with perhaps a less than equal proportion of the "Drink and makemerry,' which (genuine or not) occurs over frequently in the Original. way, the Result is sad enough: saddest perhaps when most ostentatiously merry. more apt to move Sorrow than Anger toward the old Tent-maker, who, after vainiy endeavoring to unshackle his Steps from Destiny, and to catch some authentic Glimpse of Tomorrow, fell back upon Today (which has outlasted so many Tomorrows!) as the only Ground he got to stand upon, however momentarily slipping from under his Feet."

Either

Fitzgerald's method was not so much one of literal translation as of combination and paraphrase; the first edition of 1859 contained 75 quatrains, the second 110, the third and fourth (here reprinted) 10I. Most of the changes were in the nature of improvement; it is generally felt, however, that the first stanza was finest in its original form, where it ran as follows: "Awake! for Morning in the Bowl of Night

Has flung the Stone that puts the Stars to
Flight:

And Lo! the Hunter of the East has
caught

The Sultan's Turret in a Noose of Light." The wonderful success of the stanza form invented by Fitzgerald, the successive stanzas rolling on in subdued splendor one after another with the stateliness of a pageant, needs no comment. In the text Fitzgerald's usage with regard to capitals and apostrophes has been preserved. The notes that follow are based upon Fitzgerald's own. 637. 5. The phantom of False morning. transient light on the horizon about an hour before the true dawn.

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15. White Hand of Moses. Moses brought his hand forth from his bosom 'leprous as snow," Exodus, iv: 6; the metaphor is applied to the blooming of the flowers.

16. Jesus... suspires. "According to the Persians, the healing power of Jesus resided in his breath."

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36-40. Kaikobád... Hátim. The proper names are those of Persian heroes; for Zal and Rustum see Arnold's Sohrab and Rustum.

44. Mahmud. The Sultan. 638. 99. Muezzin.

faithful

countries.

to

The crier who calls the

prayer in Mohammedan

639. 122. Saturn. Lord of the seventh heaven. 127. Me and Thee. Some dividual existence or personality distinct from the whole.

131. Signs. Signs of the zodiac. 641. 225. My computations.

Omar was a profound mathematician, and helped to reform the calendar.

237. Allah-breathing. Allah-worshipping. 642. 271. Lantern. Fitzgerald's note describes a "Magic-Lanthorn still used in India; the cylindrical_Interior being painted with various Figures, and so lightly poised and ventilated as to revolve round the lighted Candle within." 277. The ball, etc. The reference is to the game of polo, of ancient Persian origin.

302. Dervish. A Mohammedan devotee. 643. 326. Ramazán. The Mohammedan month of fasting, when no food is eaten between sunrise and sunset.

327 ff. With this use of the metaphor of
the potter and the clay compare Brown-
ing's in Rabbi Ben Ezra, page 631, l. 150.
346. Sufi.
An adherent of a Persian sect
whose belief was pantheistic.

358. The little Moon . . . that all were
seeking. The new moon marking the
end of the fasting month.

360. Shoulder-knot a-creaking.

the burden of the jars of wine.

CARLYLE

SARTOR RESARTUS

With

644. This, the most influential of Carlyle's works, appeared as a serial in Fraser's Magazine during the years 1833-4. It is an attack upon the materialistic selfsatisfaction of England; an attempt to show that the only ultimate reality is spirit, is God, and that everything material is merely clothing for the Divine Idea, visible manifestation of God. In form the book is somewhat grotesque. It purports to be a long review of a work on clothing, the magnum opus of Diogenes Teufelsdröckh, a German philosopher. Carlyle speaks through the mouth of Teufelsdröckh; the views ex

pressed in the chapter here printed are Carlyle's own. At the same time he comments, in his own person, on the ideas propounded by the German, forestalling criticism, and occasionally explaining oracular utterances. The chapter on Natural Supernaturalism is really the culmination of the whole work. 644. 6. The Clothes-Philosophy. The idea that all appearances are merely the clothing of the Divine Idea which alone has ultimate reality.

645. 34. Miracles. Carlyle objected

to

science because it tended, so he thought, to remove wonder and worship from human life. It tried to "explain" the phenomena of life which Carlyle considered divinely miraculous.

47. Schlagbaum. Carlyle sprinkles German words and phrases through Sartor Resartus as proof of the fact that he is merely reviewing Teufelsdröckh's book. 646. 153. Fortunatus. The hero of Thomas Dekker's play Old Fortunatus, well known in popular legend, possessed such a hat. 160. Wahngasse of Weissnichtwo. The city in which Teufelsdröckh is supposed to live Carlyle calls Weissnichtwo "; " I know not where." Wahngasse; dreamlane.

168. Groschen. Small German coin. 647. 264. Thaumaturgy. The art of performing miracles.

275. Stein-bruch. Stone-quarry.

278. Ashlar houses. Houses of hewn or squared stone.

321. Johnson . .

went to Cock Lane.

See Boswell's Life of Johnson, p. 308.

648. 397. Cimmerian Night. See note on L'Allegro, l. 10.

429. "We are such stuff," etc. From The Tempest, IV. i. 156 f.

PAST AND PRESENT: LABOR

649. 60. Ezekiel. There is no reference to a potter's wheel in Ezekiel. Carlyle has probably confused the "Vision of the Wheels," Ezekiel, i: 15-21, and the reference to the potter's wheel in Jeremiah, xviii: 1-6.

121. Sir Christopher. Sir Christopher Wren (1632-1723), was the architect entrusted with the rebuilding of St. Paul's Cathedral, destroyed in the London fire of 1666. Nell Gwyn was a favorite of Charles II, whose title included the phrase "Defender of the Faith."

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on their ability to whirl round like human tops. 651. 37. Shovel-hat. A particular sort of hat worn by the English clergy. TalfourdMahon Copyrights. A bill passed in 1842 guaranteeing the author's copyright for forty-two years.

68. Kepler calculations, Newton meditations. Johann Kepler (1571-1630), was a famous German astronomer; Sir Isaac Newton (1642-1727), the author of the Principia, was one of the world's greatest mathematicians.

652. 106. Mayfair. A fashionable residence district in London.

124. The sad and true old Samuel. Per-
haps Carlyle has in mind Samuel John-
son's statement: "I have been an idle
fellow all my life." See line 1970, selec-
tions from Boswell's Life, this volume.
133. My Corn-Law friends. The "Corn-
Laws"
imposed high duties on grains
imported into England. They were
abolished in 1846.

140. St. Stephen's. The Parliament
houses.

159. Owen's Labor-bank. Robert Owen (1771-1858), a British social reformer, undertook to improve the condition of English laborers, through the establishment of small ideal communities," including co-operative banks and stores.

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168. Downing Street. Many of the offices of the British government are in Downing street.

653. 261. Manes. The souls of the dead, considered as gods of the lower world.

268. Acheron. One of the four rivers of the classical Hades.

270. Dante. The greatest of all Italian poets (1265-1321). The quotations are from his Divine Comedy.

66

278. Se tu segui, etc. If thou followest thy star."

287. Eccovi l'uom, etc.

"Behold the

man who has stood in Hell."
288. As poet Dryden says. See Absalom
and Achitophel, 11. 79-80.

295. Eurydice from Tartarus. See note
on L'Allegro, l. 150.

654. 313. Lath-and-plaster hats. A method of advertising then practiced in London. 318. Law-wards. Carlylese for Lords, etymologically incorrect. Anglo-Saxon hlafweard means guardian of the loaf, the bread, not of the law.

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CROMWELL'S LETTERS AND SPEECHES: THE
BATTLE OF DUNBAR

655. The battle was fought September 3 (13),
1650. Cromwell's army was suffering from
want of food; had Leslie and the Scots
remained on Doon Hill, it is probable that
Cromwell would have withdrawn by sea.
9. Lambert. John Lambert (1619-1683),
Cromwell's second-in-command; one of
the most successful of the Parliamentary
major-generals.
11. Lesley.

David Leslie, afterwards Lord Newark (d. 1682), commander of the Scottish forces. He had previously fought with Cromwell against Charles I. 27. Committee of Estates. The governing committee, in charge of the whole campaign.

Gilbert 31. Bishop Burnet. Burnet (1643-1715), Bishop of Salisbury; best known for his History of His Own Time. 656. 79. Monk. George Monk, first Duke of Albermarle (1608-1670), Parliamentary commander during the Civil War, commander of a brigade at Dunbar; later influential in securing the restoration of Charles II.

123. Major Hodgson. John Hodgson (d. 1684), serving in Lambert's regiment. His Memoirs give the best contemporary account of the battle of Dunbar.

124. A Cornet. The lowest grade of commissioned officer in the British cavalry; the grade is now extinct.

RUSKIN

MODERN PAINTERS: SUNRISE AND SUNSET

From chapter 4, "Of Truth of Clouds," (Part II, section 3, of entire work). Ruskin is arguing that Turner has been more true in his representations of nature than others with whom he is compared; the omitted portions, indicated in the text, are repetitions of the question "Has Claude given this?"

657. 14. Atlantis. A mythical city lost beneath the waves of the Atlantic.

658. 126. Who has best delivered this His message? Ruskin's answer is, of course, Turner.

THE TWO BOYHOODS

Part IX, chapter 9; the entire chapter is reprinted.

5. Giorgione. Italian painter (14771510), born at Castel-franco.

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121. Great ships go to pieces. sentence refers to two of Turner's paintings: The Garden of the Hesperides," and "The Meuse." 661. 255. Once... twice... thrice. Turner painted three pictures commemorative of Trafalgar: "The Death of Nelson"; "The Battle of Trafalgar"; "The Fighting Témeraire."

361. Our Lady of Safety. "Santa Maria della Salute "; a church on the Grand Canal.

662. 394. Chiaroscuro.

"I

Technically the disposition of lights and shadows in a picture; here used for picturesqueness. 456. Among the Yorkshire hills. do not mean that this is his first acquaintance with the country, but the first impressive and touching one, after his mind was formed. The earliest sketches I found in the National Collection are at Clifton and Bristol; the next, at Oxford." (Ruskin.)

663. 517. Whitby Hill ... Bolton Brook. The ruins of Whitby and Bolton Abbeys are the traces of other handiwork."

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668. 408. Their bluest veins to kiss. Antony and Cleopatra, II. v. 29.

669. 462. Of them that sell doves. Matthew, xxi: 12.

TIME AND TIDE

Under this title appeared twenty-five letters written ostensibly to Thomas Dixon, of Sunderland, but in fact addressed to the workingmen of England who in 1867, the year the letters appeared, were agitating reform. In them Ruskin appears not as the critic of art, but as the sociologist.

THE RELATION OF ART TO MORALS 671. A selection from the third of Ruskin's Lectures on Art, delivered while he was Slade Professor at Oxford. The portion reprinted comprises paragraphs 71-81 of the Lectures.

672. 122. My three years. As Slade Professor of Art at Oxford.

673. 164. The contest of Apelles and Protogenes. The two men were rivals, and attempted to outdo one another in drawing lines of remarkable fineness.

167. The circle of Giotto. Giotto (1267?— 1337) sent as a sample of his work, and proof of his powers, a perfect circle. 675. 382. Miranda . . Caliban. Characters in Shakespeare's Tempest; Caliban is a creature more brute than man; Miranda is the most spotlessly pure of all Shakespeare's heroines.

MACAULAY

OLIVER GOLDSMITH

The life of Goldsmith illustrates the vigor and picturesqueness of Macaulay's style; it is not, however, a thoroughly accurate biography. In particular it should be noted that Macaulay inherited from Boswell the condescending attitude which appears in this essay; more recent critics feel less of this, and are inclined to treat Goldsmith more seriously, both as a man and a thinker.

676. 75. Glorious and Immortal Memory. The memory of William III.

79. The banished dynasty. The Stuarts. 679. 386. The Dunciad. Pope's greatest satire.

479. Bayes in the Rehearsal. The Rehearsal was a burlesque attack on heroic tragedy, written by the Duke of Buckingham and his friends. John Bayes was a satirical portrait of Dryden. 680. 553. Kelly and Cumberland. Hugh Kelly

(1739-1777), whose sentimental comedy False Delicacy was brought out with great success at Drury Lane six days before the first performance of The Good-Natured Man at Covent Garden; Richard Cumberland

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