Full-blooded with new crimson of broad day—
Passion made palpable once more." (P. 232.)
The revived passion may breathe under the name of another man; it may stir again in the utterance of one dead and forgotten; and Mr. Browning, borrowing the language of chemistry, invokes the reactive processes through which its many-coloured flamelets may spring to life.[[136]] He then passes by an insensible—because to him very natural—transition from the realities of feeling to those of thought, and to the underlying truth from which both series derive: and combats the idea that in thought, any more than in feeling, the present can disprove the past, the once true reveal itself as delusion. Time—otherwise growth—widens the range as it complicates the necessities of musical, i.e. emotional expression. It destroys the enfolding fictions which shield without concealing the earlier stages of intellectual truth. But the emotions were in existence before music began; and Truth was potentially "at full" within us when as it were reborn to grow and bud and blossom for the mind of man.[[137]] Therefore, he has said, addressing Avison's March, "Blare it forth, bold C Major!" and "Therefore," he continues, in a swift return of fancy:—
"... Bang the drums,
Blow the trumps, Avison! March-motive? That's
Truth which endures resetting. Sharps and flats,
Lavish at need, shall dance athwart thy score
When ophicleide and bombardon's uproar
Mate the approaching trample, even now
Big in the distance—or my ears deceive—