BERNARD DE MANDEVILLE
. . . . . . . . . . . . . . . . .
IX
Boundingly up through Night's wall dense and dark,
Embattled crags and clouds, outbroke the Sun
Above the conscious earth, and one by one
Her heights and depths absorbed to the last spark
His fluid glory, from the far fine ridge
Of mountain-granite which, transformed to gold,
Laughed first the thanks back, to the vale's dusk fold
On fold of vapor-swathing, like a bridge
[414] Shattered beneath some giant's stamp. Night wist
Her work done and betook herself in mist
To marsh and hollow there to bide her time
Blindly in acquiescence. Everywhere
Did earth acknowledge Sun's embrace sublime
Thrilling her to the heart of things: since there
No ore ran liquid, no spar branched anew,
No arrowy crystal gleamed, but straightway grew
Glad through the inrush—glad nor more nor less
Than, 'neath his gaze, forest and wilderness,
Hill, dale, land, sea, the whole vast stretch and spread,
The universal world of creatures bred
By Sun's munificence, alike gave praise—
All creatures but one only: gaze for gaze,
Joyless and thankless, who—all scowling can—
Protests against the innumerous praises? Man,
Sullen and silent.
Stand thou forth then, state
Thy wrong, thou sole aggrieved—disconsolate—
While every beast, bird, reptile, insect, gay
And glad acknowledges the bounteous day!
X
Man speaks now:—"What avails Sun's earth-felt thrill
To me? Sun penetrates the ore, the plant—
They feel and grow: perchance with subtler skill
He interfuses fly, worm, brute, until
Each favored object pays life's ministrant
By pressing, in obedience to his will,
Up to completion of the task prescribed,
So stands and stays a type. Myself imbibed
Such influence also, stood and stand complete—
The perfect Man,—head, body, hands and feet,
[415] True to the pattern: but does that suffice?
How of my superadded mind which needs
—Not to be, simply, but to do, and pleads
For—more than knowledge that by some device
Sun quickens matter: mind is nobly fain
To realize the marvel, make—for sense
As mind—the unseen visible, condense
—Myself—Sun's all-pervading influence
So as to serve the needs of mind, explain
What now perplexes. Let the oak increase
His corrugated strength on strength, the palm
Lift joint by joint her fan-fruit, ball and balm,—
Let the coiled serpent bask in bloated peace,—
The eagle, like some skyey derelict,
Drift in the blue, suspended glorying,—
The lion lord it by the desert-spring,—
What know or care they of the power which pricked
Nothingness to perfection? I, instead,
When all-developed still am found a thing
All-incomplete: for what though flesh had force
Transcending theirs—hands able to unring
The tightened snake's coil, eyes that could outcourse
The eagle's soaring, voice whereat the king
Of carnage couched discrowned? Mind seeks to see,
Touch, understand, by mind inside of me,
The outside mind—whose quickening I attain
To recognize—I only. All in vain
Would mind address itself to render plain
The nature of the essence. Drag what lurks
Behind the operation—that which works
Latently everywhere by outward proof—
Drag that mind forth to face mine? No! aloof
I solely crave that one of all the beams
Which do Sun's work in darkness, at my will
[416] Should operate—myself for once have skill
To realize the energy which streams
Flooding the universe. Above, around,
Beneath—why mocks that mind my own thus found
Simply of service, when the world grows dark,
To half-surmise—were Sun's use understood,
I might demonstrate him supplying food,
Warmth, life, no less the while? To grant one spark
Myself may deal with—make it thaw my blood
And prompt my steps, were truer to the mark
Of mind's requirement than a half-surmise
That somehow secretly is operant
A power all matter feels, mind only tries
To comprehend! Once more—no idle vaunt
'Man comprehends the Sun's self!' Mysteries
At source why probe into? Enough: display,
Make demonstrable, how, by night as day,
Earth's centre and sky's outspan, all's informed
Equally by Sun's efflux!—source from whence
If just one spark I drew, full evidence
Were mine of fire ineffably enthroned—
Sun's self made palpable to Man!"
XI
Thus moaned
Man till Prometheus helped him,—as we learn,—
Offered an artifice whereby he drew
Sun's rays into a focus,—plain and true,
The very Sun in little: made fire burn
And henceforth do Man service—glass-conglobed
Though to a pin-point circle—all the same
Comprising the Sun's self, but Sun disrobed
Of that else-unconceived essential flame
Borne by no naked sight. Shall mind's eye strive
[417] Achingly to companion as it may
The supersubtle effluence, and contrive
To follow beam and beam upon their way
Hand-breadth by hand-breadth, till sense faint—confessed
Frustrate, eluded by unknown unguessed
Infinitude of action? Idle quest!
Rather ask aid from optics. Sense, descry
The spectrum—mind, infer immensity!
Little? In little, light, warmth, life are blessed—
Which, in the large, who sees to bless? Not I
More than yourself: so, good my friend, keep still
Trustful with—me? with thee, sage Mandeville!
The second "Reverie" has the effect of a triumphant swan song, especially the closing stanzas, the poem having been written very near the end of the poet's life.
"In a beginning God
Made heaven and earth." Forth flashed
Knowledge: from star to clod
Man knew things: doubt abashed
Closed its long period.
Knowledge obtained Power praise.
Had Good been manifest,
Broke out in cloudless blaze,
Unchequered as unrepressed,
In all things Good at best—
Then praise—all praise, no blame—
Had hailed the perfection. No!
As Power's display, the same
Be Good's—praise forth shall flow
Unisonous in acclaim!
[418] Even as the world its life,
So have I lived my own—
Power seen with Love at strife,
That sure, this dimly shown,
—Good rare and evil rife.
Whereof the effect be—faith
That, some far day, were found
Ripeness in things now rathe,
Wrong righted, each chain unbound,
Renewal born out of scathe.
Why faith—but to lift the load,
To leaven the lump, where lies
Mind prostrate through knowledge owed
To the loveless Power it tries
To withstand, how vain! In flowed
Ever resistless fact:
No more than the passive clay
Disputes the potter's act,
Could the whelmed mind disobey
Knowledge the cataract.
But, perfect in every part,
Has the potter's moulded shape,
Leap of man's quickened heart,
Throe of his thought's escape,
Stings of his soul which dart
Through the barrier of flesh, till keen
She climbs from the calm and clear,
Through turbidity all between,
From the known to the unknown here,
Heaven's "Shall be," from Earth's "Has been"?
[419] Then life is—to wake not sleep,
Rise and not rest, but press
From earth's level where blindly creep
Things perfected, more or less,
To the heaven's height, far and steep,
Where, amid what strifes and storms
May wait the adventurous quest,
Power is Love—transports, transforms
Who aspired from worst to best,
Sought the soul's world, spurned the worms'.
I have faith such end shall be:
From the first, Power was—I knew.
Life has made clear to me
That, strive but for closer view,
Love were as plain to see.
When see? When there dawns a day,
If not on the homely earth,
Then yonder, worlds away,
Where the strange and new have birth,
And Power comes full in play.
CHAPTER VI
ART CRITICISM INSPIRED BY THE ENGLISH MUSICIAN, AVISON
In the "Parleying" "With Charles Avison," Browning plunges into a discussion of the problem of the ephemeralness of musical expression. He hits upon Avison to have his colloquy with because a march by this musician came into his head, and the march came into his head for no better reason than that it was the month of March. Some interest would attach to Avison if it were only for the reason that he was organist of the Church of St. Nicholas in Newcastle-upon-Tyne. In the earliest accounts St. Nicholas was styled simply, "The Church of Newcastle-upon-Tyne," but in 1785 it became a Cathedral. This was after Avison's death in 1770. All we know about the organ upon which Avison performed is found in a curious old history of Newcastle by Brand. "I have found," he writes, "no account of any organ in this church during the times of popery though it is very probable there has been one. About the year 1676,[421] the corporation of Newcastle contributed £300 towards the erection of the present organ. They added a trumpet stop to it June 22d, 1699."
The year that Avison was born, 1710, it is recorded further that "the back front of this organ was finished which cost the said corporation £200 together with the expense of cleaning and repairing the whole instrument."
June 26, 1749, the common council of Newcastle ordered a sweet stop to be added to the organ. This was after Avison became organist, his appointment to that post having been in 1736. So we know that he at least had a "trumpet stop" and a "sweet stop," with which to embellish his organ playing.
The church is especially distinguished for the number and beauty of its chantries, and any who have a taste for examining armorial bearings will find two good-sized volumes devoted to a description of those in this church, by Richardson. Equal distinction attaches to the church owing to the beauty of its steeple, which has been called the pride and glory of the Northern Hemisphere. According to the enthusiastic Richardson it is justly esteemed on account of its peculiar excellency of design and delicacy of execution one of the finest specimens of architectural beauty in Europe.[422] This steeple is as conspicuous a feature of Newcastle as the State House Dome is of Boston, situated, as it is, almost in the center of the town. Richardson gives the following minute description of this marvel. "It consists of a square tower forty feet in width, having great and small turrets with pinnacles at the angles and center of each front tower. From the four turrets at the angles spring two arches, which meet in an intersecting direction, and bear on their center an efficient perforated lanthorne, surmounted by a tall and beautiful spire: the angles of the lanthorne have pinnacles similar to those on the turrets, and the whole of the pinnacles, being twelve in number, and the spire, are ornamented with crockets and vanes."
There is a stirring tradition in regard to this structure related by Bourne to the effect that in the time of the Civil Wars, when the Scots had besieged the town for several weeks, and were still as far as at first from taking it, the general sent a messenger to the mayor of the town, and demanded the keys, and the delivering up of the town, or he would immediately demolish the steeple of St. Nicholas. The mayor and aldermen upon hearing this, immediately ordered a certain number of the chiefest of the Scottish prisoners to be carried[423] up to the top of the tower, the place below the lanthorne and there confined. After this, they returned the general an answer to this purpose,—that they would upon no terms deliver up the town, but would to the last moment defend it: that the steeple of St. Nicholas was indeed a beautiful and magnificent piece of architecture, and one of the great ornaments of the town; but yet should be blown into atoms before ransomed at such a rate: that, however, if it was to fall, it should not fall alone, that the same moment he destroyed the beautiful structure he should bathe his hands in the blood of his countrymen who were placed there on purpose either to preserve it from ruin or to die along with it. This message had the desired effect. The men were there kept prisoners during the whole time of the siege and not so much as one gun fired against it.
Avison, however, had other claims to distinction, besides being organist of this ancient church. He was a composer, and was remembered by one of his airs, at least, into the nineteenth century, namely "Sound the Loud Timbrel." He appears not to be remembered, however, by his concertos, of which he published no less than five sets for a full band of stringed instruments, nor by his[424] quartets and trios, and two sets of sonatas for the harpsichord and two violins. All we have to depend on now as to the quality of his music are the strictures of a certain Dr. Hayes, an Oxford Professor, who points out many errors against the rules of composition in the works of Avison, whence he infers that his skill in music is not very profound, and the somewhat more appreciative remarks of Hawkins who says "The music of Avison is light and elegant, but it wants originality, a necessary consequence of his too close attachment to the style of Geminiani which in a few particulars only he was able to imitate."
Geminiani was a celebrated violin player and composer of the day, who had come to England from Italy. He is said to have held his pupil, Avison, in high esteem and to have paid him a visit at Newcastle in 1760. Avison's early education was gained in Italy; and in addition to his musical attainments he was a scholar and a man of some literary acquirements. It is not surprising, considering all these educational advantages that he really made something of a stir upon the publication of his "small book," as Browning calls it, with, we may add, its "large title."
AN
ESSAY
ON
MUSICAL EXPRESSION
BY CHARLES AVISON
Organist in Newcastle
With Alterations and Large Additions
To which is added,
A LETTER to the AUTHOR
concerning the Music of the Ancients
and some Passages in Classic Writers
relating to the Subject.
likewise
Mr. AVISON'S REPLY to the Author of
Remarks on the Essay on Musical Expression
In a Letter from Mr. Avison to his Friend in London
THE THIRD EDITION
LONDON
Printed for LOCKYER DAVIS, in Holborn.
Printer to the Royal Society.
MDCCLXXV.
The author of the "Remarks on the Essay on Musical Expression" was the aforementioned Dr. W. Hayes, and although the learned doctor's pamphlet seems to have died a natural death, some idea of its strictures may be gained from Avison's reply. The criticisms are rather too technical to be[426] of interest to the general reader, but one is given here to show how gentlemanly a temper Mr. Avison possessed when he was under fire. His reply runs "His first critique, and, I think, his masterpiece, contains many circumstantial, but false and virulent remarks on the first allegro of these concertos, to which he supposes I would give the name of fugue. Be it just what he pleases to call it I shall not defend what the public is already in possession of, the public being the most proper judge. I shall only here observe, that our critic has wilfully, or ignorantly, confounded the terms fugue and imitation, which latter is by no means subject to the same laws with the former.
Handel
"Had I observed the method of answering the accidental subjects in this allegro, as laid down by our critic in his remarks, they must have produced most shocking effects; which, though this mechanic in music, would, perhaps, have approved, yet better judges might, in reality, have imagined I had known no other art than that of the spruzzarino." There is a nice independence about this that would indicate Mr. Avison to be at least an aspirant in the right direction in musical composition. His criticism of Handel, too, at a time when the world was divided between enthusiasm for[427] Handel and enthusiasm for Buononcini, shows a remarkably just and penetrating estimate of this great genius.
"Mr. Handel is, in music, what his own Dryden was in poetry; nervous, exalted, and harmonious; but voluminous, and, consequently, not always correct. Their abilities equal to every thing; their execution frequently inferior. Born with genius capable of soaring the boldest flights; they have sometimes, to suit the vitiated taste of the age they lived in, descended to the lowest. Yet, as both their excellencies are infinitely more numerous than their deficiencies, so both their characters will devolve to latest posterity, not as models of perfection, yet glorious examples of those amazing powers that actuate the human soul."
On the whole, Mr. Avison's "little book" on Musical Expression is eminently sensible as to the matter and very agreeable in style. He hits off well, for example, the difference between "musical expression" and imitation.
"As dissonances and shocking sounds cannot be called Musical Expression, so neither do I think, can mere imitation of several other things be entitled to this name, which, however, among the generality of mankind hath often obtained it. Thus, the gradual rising[428] or falling of the notes in a long succession is often used to denote ascent or descent; broken intervals, to denote an interrupted motion; a number of quick divisions, to describe swiftness or flying; sounds resembling laughter, to describe laughter; with a number of other contrivances of a parallel kind, which it is needless here to mention. Now all these I should chuse to style imitation, rather than expression; because it seems to me, that their tendency is rather to fix the hearer's attention on the similitude between the sounds and the things which they describe, and thereby to excite a reflex act of the understanding, than to affect the heart and raise the passions of the soul.
"This distinction seems more worthy our notice at present, because some very eminent composers have attached themselves chiefly to the method here mentioned; and seem to think they have exhausted all the depths of expression, by a dextrous imitation of the meaning of a few particular words, that occur in the hymns or songs which they set to music. Thus, were one of these gentlemen to express the following words of Milton,
—Their songs
Divide the night, and lift our thoughts to heav'n:
[429]it is highly probable, that upon the word divide, he would run a division of half a dozen bars; and on the subsequent part of the sentence, he would not think he had done the poet justice, or risen to that height of sublimity which he ought to express, till he had climbed up to the very top of his instrument, or at least as far as the human voice could follow him. And this would pass with a great part of mankind for musical expression; instead of that noble mixture of solemn airs and various harmony, which indeed elevates our thoughts, and gives that exquisite pleasure, which none but true lovers of harmony can feel." What Avison calls "musical expression," we call to-day "content." And thus Avison "tenders evidence that music in his day as much absorbed heart and soul then as Wagner's music now." It is not unlikely that this very passage may have started Browning off on his argumentative way concerning the question: how lasting and how fundamental are the powers of musical expression.
The poet's memory goes back a hundred years only to reach "The bands-man Avison whose little book and large tune had led him the long way from to-day."