Where worthier poets stood and sang before,
I kiss their footsteps yet their words gainsay.
I can but muse in hope upon this shore
Of golden Arno as it shoots away
Through Florence' heart beneath her bridges four:
Bent bridges, seeming to strain off like bows,
And tremble while the arrowy undertide
Shoots on and cleaves the marble as it goes,
And strikes up palace-walls on either side,
And froths the cornice out in glittering rows,
With doors and windows quaintly multiplied,
And terrace-sweeps, and gazers upon all,
By whom if flower or kerchief were thrown out
From any lattice there, the same would fall
Into the river underneath, no doubt,
It runs so close and fast 'twixt wall and wall.
How beautiful! the mountains from without
In silence listen for the word said next.
What word will men say,--here where Giotto planted
His campanile like an unperplexed
Fine question Heavenward, touching the things granted
A noble people who, being greatly vexed
In act, in aspiration keep undaunted?
What word will God say? Michel's Night and Day
And Dawn and Twilight wait in marble scorn[3]
Like dogs upon a dunghill, couched on clay
From whence the Medicean stamp's outworn,
The final putting off of all such sway
By all such hands, and freeing of the unborn
In Florence and the great world outside Florence.
Three hundred years his patient statues wait
In that small chapel of the dim Saint Lawrence:
Day's eyes are breaking bold and passionate
Over his shoulder, and will flash abhorrence
On darkness and with level looks meet fate,
When once loose from that marble film of theirs;
The Night has wild dreams in her sleep, the Dawn
Is haggard as the sleepless, Twilight wears
A sort of horror; as the veil withdrawn
'Twixt the artist's soul and works had left them heirs
Of speechless thoughts which would not quail nor fawn,
Of angers and contempts, of hope and love:
For not without a meaning did he place
The princely Urbino on the seat above
With everlasting shadow on his face,
While the slow dawns and twilights disapprove
The ashes of his long-extinguished race
Which never more shall clog the feet of men.
I do believe, divinest Angelo,
That winter-hour in Via Larga, when
They bade thee build a statue up in snow[4]
And straight that marvel of thine art again
Dissolved beneath the sun's Italian glow,
Thine eyes, dilated with the plastic passion,
Thawing too in drops of wounded manhood, since,
To mock alike thine art and indignation,
Laughed at the palace-window the new prince,--
("Aha! this genius needs for exaltation,
When all's said and however the proud may wince,
A little marble from our princely mines!")
I do believe that hour thou laughedst too
For the whole sad world and for thy Florentines,
After those few tears, which were only few!
That as, beneath the sun, the grand white lines
Of thy snow-statue trembled and withdrew,--
The head, erect as Jove's, being palsied first,
The eyelids flattened, the full brow turned blank,
The right-hand, raised but now as if it cursed,
Dropt, a mere snowball, (till the people sank
Their voices, though a louder laughter burst
From the royal window)--thou couldst proudly thank
God and the prince for promise and presage,
And laugh the laugh back, I think verily,
Thine eyes being purged by tears of righteous rage
To read a wrong into a prophecy,
And measure a true great man's heritage
Against a mere great-duke's posterity.
I think thy soul said then, "I do not need
A princedom and its quarries, after all;
For if I write, paint, carve a word, indeed,
On book or board or dust, on floor or wall,
The same is kept of God who taketh heed
That not a letter of the meaning fall
Or ere it touch and teach His world's deep heart,
Outlasting, therefore, all your lordships, sir!
So keep your stone, beseech you, for your part,
To cover up your grave-place and refer
The proper titles; _I_ live by my art.
The thought I threw into this snow shall stir
This gazing people when their gaze is done;
And the tradition of your act and mine,
When all the snow is melted in the sun,
Shall gather up, for unborn men, a sign
Of what is the true princedom,--ay, and none
Shall laugh that day, except the drunk with wine."
Amen, great Angelo! the day's at hand.
If many laugh not on it, shall we weep?
Much more we must not, let us understand.
Through rhymers sonneteering in their sleep
And archaists mumbling dry bones up the land
And sketchers lauding ruined towns a-heap,--
Through all that drowsy hum of voices smooth,
The hopeful bird mounts carolling from brake,
The hopeful child, with leaps to catch his growth,
Sings open-eyed for liberty's sweet sake:
And I, a singer also from my youth,
Prefer to sing with these who are awake,
With birds, with babes, with men who will not fear
The baptism of the holy morning dew,
(And many of such wakers now are here,
Complete in their anointed manhood, who
Will greatly dare and greatlier persevere,)
Than join those old thin voices with my new,
And sigh for Italy with some safe sigh
Cooped up in music 'twixt an oh and ah,--
Nay, hand in hand with that young child, will I
Go singing rather, "_Bella liberta_,"
Than, with those poets, croon the dead or cry
"_Se tu men bella fossi, Italia!_"
"Less wretched if less fair." Perhaps a truth
Is so far plain in this, that Italy,
Long trammelled with the purple of her youth
Against her age's ripe activity,
Sits still upon her tombs, without death's ruth
But also without life's brave energy.
"Now tell us what is Italy?" men ask:
And others answer, "Virgil, Cicero,
Catullus, Caesar." What beside? to task
The memory closer--"Why, Boccaccio,
Dante, Petrarca,"--and if still the flask
Appears to yield its wine by drops too slow,--
"Angelo, Raffael, Pergolese,"--all
Whose strong hearts beat through stone, or charged again
The paints with fire of souls electrical,
Or broke up heaven for music. What more then?
Why, then, no more. The chaplet's last beads fall
In naming the last saintship within ken,
And, after that, none prayeth in the land.
Alas, this Italy has too long swept
Heroic ashes up for hour-glass sand;
Of her own past, impassioned nympholept!
Consenting to be nailed here by the hand
To the very bay-tree under which she stept
A queen of old, and plucked a leafy branch;
And, licensing the world too long indeed
To use her broad phylacteries to staunch
And stop her bloody lips, she takes no heed
How one clear word would draw an avalanche
Of living sons around her, to succeed
The vanished generations. Can she count
These oil-eaters with large live mobile mouths
Agape for macaroni, in the amount
Of consecrated heroes of her south's
Bright rosary? The pitcher at the fount,
The gift of gods, being broken, she much loathes
To let the ground-leaves of the place confer
A natural bowl. So henceforth she would seem
No nation, but the poet's pensioner,
With alms from every land of song and dream,
While aye her pipers sadly pipe of her
Until their proper breaths, in that extreme
Of sighing, split the reed on which they played:
Of which, no more. But never say "no more"
To Italy's life! Her memories undismayed
Still argue "evermore;" her graves implore
Her future to be strong and not afraid;
Her very statues send their looks before.
We do not serve the dead--the past is past.
God lives, and lifts His glorious mornings up
Before the eyes of men awake at last,
Who put away the meats they used to sup,
And down upon the dust of earth outcast
The dregs remaining of the ancient cup,
Then turn to wakeful prayer and worthy act.
The Dead, upon their awful 'vantage ground,
The sun not in their faces, shall abstract
No more our strength; we will not be discrowned
As guardians of their crowns, nor deign transact
A barter of the present, for a sound
Of good so counted in the foregone days.
O Dead, ye shall no longer cling to us
With rigid hands of desiccating praise,
And drag us backward by the garment thus,
To stand and laud you in long-drawn virelays!
We will not henceforth be oblivious
Of our own lives, because ye lived before,
Nor of our acts, because ye acted well.
We thank you that ye first unlatched the door,
But will not make it inaccessible
By thankings on the threshold any more.
We hurry onward to extinguish hell
With our fresh souls, our younger hope, and God's
Maturity of purpose. Soon shall we
Die also! and, that then our periods
Of life may round themselves to memory
As smoothly as on our graves the burial-sods,
We now must look to it to excel as ye,
And bear our age as far, unlimited
By the last mind-mark; so, to be invoked
By future generations, as their Dead.
'T is true that when the dust of death has choked
A great man's voice, the common words he said
Turn oracles, the common thoughts he yoked
Like horses, draw like griffins: this is true
And acceptable. I, too, should desire,
When men make record, with the flowers they strew,
"Savonarola's soul went out in fire
Upon our Grand-duke's piazza,[5] and burned through
A moment first, or ere he did expire,
The veil betwixt the right and wrong, and showed
How near God sat and judged the judges there,--"
Upon the self-same pavement overstrewed
To cast my violets with as reverent care,
And prove that all the winters which have snowed
Cannot snow out the scent from stones and air,
Of a sincere man's virtues. This was he,
Savonarola, who, while Peter sank
With his whole boat-load, called courageously
"Wake Christ, wake Christ!"--who, having tried the tank
Of old church-waters used for baptistry
Ere Luther came to spill them, swore they stank;
Who also by a princely deathbed cried,
"Loose Florence, or God will not loose thy soul!"
Then fell back the Magnificent and died
Beneath the star-look shooting from the cowl,
Which turned to wormwood-bitterness the wide
Deep sea of his ambitions. It were foul
To grudge Savonarola and the rest
Their violets: rather pay them quick and fresh!
The emphasis of death makes manifest
The eloquence of action in our flesh;
And men who, living, were but dimly guessed,
When once free from their life's entangled mesh,
Show their full length in graves, or oft indeed
Exaggerate their stature, in the flat,
To noble admirations which exceed
Most nobly, yet will calculate in that
But accurately. We, who are the seed
Of buried creatures, if we turned and spat
Upon our antecedents, we were vile.
Bring violets rather. If these had not walked
Their furlong, could we hope to walk our mile?
Therefore bring violets. Yet if we self-baulked
Stand still, a-strewing violets all the while,
These moved in vain, of whom we have vainly talked.
So rise up henceforth with a cheerful smile,
And having strewn the violets, reap the corn,
And having reaped and garnered, bring the plough
And draw new furrows 'neath the healthy morn,
And plant the great Hereafter in this Now.
Of old 't was so. How step by step was worn,
As each man gained on each securely!--how
Each by his own strength sought his own Ideal,--
The ultimate Perfection leaning bright
From out the sun and stars to bless the leal
And earnest search of all for Fair and Right
Through doubtful forms by earth accounted real!
Because old Jubal blew into delight
The souls of men with clear-piped melodies,
If youthful Asaph were content at most
To draw from Jubal's grave, with listening eyes,
Traditionary music's floating ghost
Into the grass-grown silence, were it wise?
And was 't not wiser, Jubal's breath being lost,
That Miriam clashed her cymbals to surprise
The sun between her white arms flung apart,
With new glad golden sounds? that David's strings
O'erflowed his hand with music from his heart?
So harmony grows full from many springs,
And happy accident turns holy art.
You enter, in your Florence wanderings,
The church of Saint Maria Novella. Pass
The left stair, where at plague-time Machiavel[6]
Saw One with set fair face as in a glass,
Dressed out against the fear of death and hell,
Rustling her silks in pauses of the mass,
To keep the thought off how her husband fell,
When she left home, stark dead across her feet,--
The stair leads up to what the Orgagnas save
Of Dante's daemons; you, in passing it,
Ascend the right stair from the farther nave
To muse in a small chapel scarcely lit
By Cimabue's Virgin. Bright and brave,
That picture was accounted, mark, of old:
A king stood bare before its sovran grace,[7]
A reverent people shouted to behold
The picture, not the king, and even the place
Containing such a miracle grew bold,
Named the Glad Borgo from that beauteous face
Which thrilled the artist, after work, to think
His own ideal Mary-smile should stand
So very near him,--he, within the brink
Of all that glory, let in by his hand
With too divine a rashness! Yet none shrink
Who come to gaze here now; albeit 't was planned
Sublimely in the thought's simplicity:
The Lady, throned in empyreal state,
Minds only the young Babe upon her knee,
While sidelong angels bear the royal weight,
Prostrated meekly, smiling tenderly
Oblivion of their wings; the Child thereat
Stretching its hand like God. If any should,
Because of some stiff draperies and loose joints,
Gaze scorn down from the heights of Raffaelhood
On Cimabue's picture,--Heaven anoints
The head of no such critic, and his blood
The poet's curse strikes full on and appoints
To ague and cold spasms for evermore.
A noble picture! worthy of the shout
Wherewith along the streets the people bore
Its cherub-faces which the sun threw out
Until they stooped and entered the church door.
Yet rightly was young Giotto talked about,
Whom Cimabue found among the sheep,[8]
And knew, as gods know gods, and carried home
To paint the things he had painted, with a deep
And fuller insight, and so overcome
His chapel-Lady with a heavenlier sweep
Of light: for thus we mount into the sum
Of great things known or acted. I hold, too,
That Cimabue smiled upon the lad
At the first stroke which passed what he could do,
Or else his Virgin's smile had never had
Such sweetness in 't. All great men who foreknew
Their heirs in art, for art's sake have been glad,
And bent their old white heads as if uncrowned,
Fanatics of their pure Ideals still
Far more than of their triumphs, which were found
With some less vehement struggle of the will.
If old Margheritone trembled, swooned
And died despairing at the open sill
Of other men's achievements (who achieved,
By loving art beyond the master), he
Was old Margheritone, and conceived
Never, at first youth and most ecstasy,
A Virgin like that dream of one, which heaved
The death-sigh from his heart. If wistfully
Margheritone sickened at the smell
Of Cimabue's laurel, let him go!
For Cimabue stood up very well
In spite of Giotto's, and Angelico
The artist-saint kept smiling in his cell
The smile with which he welcomed the sweet slow
Inbreak of angels (whitening through the dim
That he might paint them), while the sudden sense
Of Raffael's future was revealed to him
By force of his own fair works' competence.
The same blue waters where the dolphins swim
Suggest the tritons. Through the blue Immense
Strike out, all swimmers! cling not in the way
Of one another, so to sink; but learn
The strong man's impulse, catch the freshening spray
He throws up in his motions, and discern
By his clear westering eye, the time of day.
Thou, God, hast set us worthy gifts to earn
Besides Thy heaven and Thee! and when I say
There's room here for the weakest man alive
To live and die, there's room too, I repeat,
For all the strongest to live well, and strive
Their own way, by their individual heat,--
Like some new bee-swarm leaving the old hive,
Despite the wax which tempts so violet-sweet.
Then let the living live, the dead retain
Their grave-cold flowers!--though honour's best supplied
By bringing actions, to prove theirs not vain.
Cold graves, we say? it shall be testified
That living men who burn in heart and brain,
Without the dead were colder. If we tried
To sink the past beneath our feet, be sure
The future would not stand. Precipitate
This old roof from the shrine, and, insecure,
The nesting swallows fly off, mate from mate.
How scant the gardens, if the graves were fewer!
The tall green poplars grew no longer straight
Whose tops not looked to Troy. Would any fight
For Athens, and not swear by Marathon?
Who dared build temples, without tombs in sight?
Or live, without some dead man's benison?
Or seek truth, hope for good, and strive for right,
If, looking up, he saw not in the sun
Some angel of the martyrs all day long
Standing and waiting? Your last rhythm will need
Your earliest key-note. Could I sing this song,
If my dead masters had not taken heed
To help the heavens and earth to make me strong,
As the wind ever will find out some reed
And touch it to such issues as belong
To such a frail thing? None may grudge the Dead
Libations from full cups. Unless we choose
To look back to the hills behind us spread,
The plains before us sadden and confuse;
If orphaned, we are disinherited.
I would but turn these lachrymals to use,
And pour fresh oil in from the olive-grove,
To furnish them as new lamps. Shall I say
What made my heart beat with exulting love
A few weeks back?--
The day was such a day
As Florence owes the sun. The sky above,
Its weight upon the mountains seemed to lay,
And palpitate in glory, like a dove
Who has flown too fast, full-hearted--take away
The image! for the heart of man beat higher
That day in Florence, flooding all her streets
And piazzas with a tumult and desire.
The people, with accumulated heats
And faces turned one way, as if one fire
Both drew and flushed them, left their ancient beats
And went up toward the palace-Pitti wall
To thank their Grand-duke who, not quite of course,
Had graciously permitted, at their call,
The citizens to use their civic force
To guard their civic homes. So, one and all,
The Tuscan cities streamed up to the source
Of this new good at Florence, taking it
As good so far, presageful of more good,--
The first torch of Italian freedom, lit
To toss in the next tiger's face who should
Approach too near them in a greedy fit,--
The first pulse of an even flow of blood
To prove the level of Italian veins
Towards rights perceived and granted. How we gazed
From Casa Guidi windows while, in trains
Of orderly procession--banners raised,
And intermittent bursts of martial strains
Which died upon the shout, as if amazed
By gladness beyond music--they passed on!
The Magistracy, with insignia, passed,--
And all the people shouted in the sun,
And all the thousand windows which had cast
A ripple of silks in blue and scarlet down
(As if the houses overflowed at last),
Seemed growing larger with fair heads and eyes.
The Lawyers passed,--and still arose the shout,
And hands broke from the windows to surprise
Those grave calm brows with bay-tree leaves thrown out.
The Priesthood passed,--the friars with worldly-wise
Keen sidelong glances from their beards about
The street to see who shouted; many a monk
Who takes a long rope in the waist, was there:
Whereat the popular exultation drunk
With indrawn "vivas" the whole sunny air,
While through the murmuring windows rose and sunk
A cloud of kerchiefed hands,--"The church makes fair
Her welcome in the new Pope's name." Ensued
The black sign of the "Martyrs"--(name no name,
But count the graves in silence). Next were viewed
The Artists; next, the Trades; and after came
The People,--flag and sign, and rights as good--
And very loud the shout was for that same
Motto, "Il popolo." IL POPOLO,--
The word means dukedom, empire, majesty,
And kings in such an hour might read it so.
And next, with banners, each in his degree,
Deputed representatives a-row
Of every separate state of Tuscany:
Siena's she-wolf, bristling on the fold
Of the first flag, preceded Pisa's hare,
And Massa's lion floated calm in gold,
Pienza's following with his silver stare,
Arezzo's steed pranced clear from bridle-hold,--
And well might shout our Florence, greeting there
These, and more brethren. Last, the world had sent
The various children of her teeming flanks--
Greeks, English, French--as if to a parliament
Of lovers of her Italy in ranks,
Each bearing its land's symbol reverent;
At which the stones seemed breaking into thanks
And rattling up the sky, such sounds in proof
Arose; the very house-walls seemed to bend;
The very windows, up from door to roof,
Flashed out a rapture of bright heads, to mend
With passionate looks the gesture's whirling off
A hurricane of leaves. Three hours did end
While all these passed; and ever in the crowd,
Rude men, unconscious of the tears that kept
Their beards moist, shouted; some few laughed aloud,
And none asked any why they laughed and wept:
Friends kissed each other's cheeks, and foes long vowed
More warmly did it; two-months' babies leapt
Right upward in their mother's arms, whose black
Wide glittering eyes looked elsewhere; lovers pressed
Each before either, neither glancing back;
And peasant maidens smoothly 'tired and tressed
Forgot to finger on their throats the slack
Great pearl-strings; while old blind men would not rest,
But pattered with their staves and slid their shoes
Along the stones, and smiled as if they saw.
O heaven, I think that day had noble use
Among God's days! So near stood Right and Law,
Both mutually forborne! Law would not bruise
Nor Right deny, and each in reverent awe
Honoured the other. And if, ne'ertheless,
That good day's sun delivered to the vines
No charta, and the liberal Duke's excess
Did scarce exceed a Guelf's or Ghibelline's
In any special actual righteousness
Of what that day he granted, still the signs
Are good and full of promise, we must say,
When multitudes approach their kings with prayers
And kings concede their people's right to pray
Both in one sunshine. Griefs are not despairs,
So uttered, nor can royal claims dismay
When men from humble homes and ducal chairs
Hate wrong together. It was well to view
Those banners ruffled in a ruler's face
Inscribed, "Live freedom, union, and all true
Brave patriots who are aided by God's grace!"
Nor was it ill when Leopoldo drew
His little children to the window-place
He stood in at the Pitti, to suggest
_They_ too should govern as the people willed.
What a cry rose then! some, who saw the best,
Declared his eyes filled up and overfilled
With good warm human tears which unrepressed
Ran down. I like his face; the forehead's build
Has no capacious genius, yet perhaps
Sufficient comprehension,--mild and sad,
And careful nobly,--not with care that wraps
Self-loving hearts, to stifle and make mad,
But careful with the care that shuns a lapse
Of faith and duty, studious not to add
A burden in the gathering of a gain.
And so, God save the Duke, I say with those
Who that day shouted it; and while dukes reign,
May all wear in the visible overflows
Of spirit, such a look of careful pain!
For God must love it better than repose.
And all the people who went up to let
Their hearts out to that Duke, as has been told--
Where guess ye that the living people met,
Kept tryst, formed ranks, chose leaders, first unrolled
Their banners?
In the Loggia? where is set
Cellini's godlike Perseus, bronze or gold,
(How name the metal, when the statue flings
Its soul so in your eyes?) with brow and sword
Superbly calm, as all opposing things,
Slain with the Gorgon, were no more abhorred
Since ended?
No, the people sought no wings
From Perseus in the Loggia, nor implored
An inspiration in the place beside
From that dim bust of Brutus, jagged and grand,
Where Buonarroti passionately tried
From out the close-clenched marble to demand
The head of Rome's sublimest homicide,
Then dropt the quivering mallet from his hand,
Despairing he could find no model-stuff
Of Brutus in all Florence where he found
The gods and gladiators thick enough.
Nor there! the people chose still holier ground:
The people, who are simple, blind and rough,
Know their own angels, after looking round.
Whom chose they then? where met they?
On the stone
Called Dante's,--a plain flat stone scarce discerned
From others in the pavement,--whereupon
He used to bring his quiet chair out, turned
To Brunelleschi's church, and pour alone
The lava of his spirit when it burned:
It is not cold to-day. O passionate
Poor Dante who, a banished Florentine,
Didst sit austere at banquets of the great
And muse upon this far-off stone of thine
And think how oft some passer used to wait
A moment, in the golden day's decline,
With "Good night, dearest Dante!"--well, good night!
_I_ muse now, Dante, and think verily,
Though chapelled in the byeway out of sight,
Ravenna's bones would thrill with ecstasy,
Couldst know thy favourite stone's elected right
As tryst-place for thy Tuscans to foresee
Their earliest chartas from. Good night, good morn,
Henceforward, Dante! now my soul is sure
That thine is better comforted of scorn,
And looks down earthward in completer cure
Than when, in Santa Croce church forlorn
Of any corpse, the architect and hewer
Did pile the empty marbles as thy tomb.[9]
For now thou art no longer exiled, now
Best honoured: we salute thee who art come
Back to the old stone with a softer brow
Than Giotto drew upon the wall, for some
Good lovers of our age to track and plough[10]
Their way to, through time's ordures stratified,
And startle broad awake into the dull
Bargello chamber: now thou'rt milder-eyed,--
Now Beatrix may leap up glad to cull
Thy first smile, even in heaven and at her side,
Like that which, nine years old, looked beautiful
At May-game. What do I say? I only meant
That tender Dante loved his Florence well,
While Florence, now, to love him is content;
And, mark ye, that the piercingest sweet smell
Of love's dear incense by the living sent
To find the dead, is not accessible
To lazy livers--no narcotic,--not
Swung in a censer to a sleepy tune,--
But trod out in the morning air by hot
Quick spirits who tread firm to ends foreshown,
And use the name of greatness unforgot,
To meditate what greatness may be done.