Chapter VI: Preface (4)

The poor captives in the quarries, when they heard the tale, sent her a crown of wild pomegranate flower--the name (Balaustion in Greek) she always henceforth bore. But there was a young man who every day, as she recited on the temple steps, stood at the foot; and, when liberated, they set sail again for Athens. There in the ship was he: he had a hunger to see Athens, and soon they were to marry. She visited Euripides, kissed his sacred hand, and paid her homage. The Athenians loved him not, neither did they love his friend Socrates; but they were fellows, and Socrates often went to hear him read.--Such was her adventure; and the beautiful Alcestis' story which she told is transcribed from the well-known play of Euripides in the succeeding pages of Mr. Browning's book. Whether the story has undergone transformation in the process we must leave to the decision of authorities on the subject. A comparison between the Greek original and Mr. Browning's translation or "transcript" certainly shows some important divergences from the classic story. We have only to compare the excellent translation of Potter in Morley's "Universal Library," vol. 54 (Routledge, 1_s._), to discern this fact at once. As the question is one of considerable literary importance, it is necessary to call attention to it in this work. For those of my readers who may have forgotten the _Alkestis_ tragedy, it may be well to recall its principal points. Potter, in his translation of the _Alkestis_ of Euripides, gives the following prefatory note of the plot:--"Admetus and Alcestis were nearly related before their marriage. Æolus, the third in descent from Prometheus, was the father of Cretheus and Salmoneus; Æson, the father of Jason, and Pheres, the father of Admetus, were sons of Cretheus; Tyro, the daughter of Salmoneus, was by Neptune mother to Pelias, whose eldest daughter Alcestis was. The historian, who relates the arts by which Medea induced the daughters of Pelias to cut their father in pieces in expectation of seeing him restored to youth, tells us that Alcestis alone, through the tenderness of her filial piety, concurred not with her sisters in that fatal deed (Diodor. Sic.). Pheres, now grown old, had resigned his kingdom to his son, and retired to his paternal estate, as was usual in those states where the sceptre was a spear. Admetus, on his first accession to the regal power, had kindly received Apollo, who was banished from heaven, and compelled for the space of a year to be a slave to a mortal; and the god, after he was restored to his celestial honours, did not forget that friendly house, but, when Admetus lay ill of a disease from which there was no recovery, prevailed upon the Fates to spare his life, on condition that some near relation should consent to die for him. But neither his father nor his mother, nor any of his friends, was willing to pay the ransom. Alcestis, hearing this, generously devoted her own life to save her husband's.--The design of this tragedy is to recommend the virtue of hospitality, so sacred among the Grecians, and encouraged on political grounds, as well as to keep alive a generous and social benevolence. The scene is in the vestibule of the house of Admetus. Palæphatus has given this explanation of the fable: After the death of Pelias, Acastus pursued the unhappy daughters to punish them for destroying their father. Alcestis fled to Pheræ; Acastus demanded her of Admetus, who refused to give her up; he therefore advanced towards Pheræ with a great army, laying the country waste with fire and sword. Admetus marched out of the city to check these devastations, fell into an ambush, and was taken prisoner. Acastus threatened to put him to death. When Alcestis understood that the life of Admetus was in this danger on her account, she went voluntarily and surrendered herself to Acastus, who discharged Admetus and detained her in custody. At this critical time Hercules, on his expedition to Thrace, arrives at Pheræ, is hospitably entertained by Admetus, and being informed of the distress and danger of Alcestis, immediately attacks Acastus, defeats his army, rescues the lady, and restores her to Admetus."--At the eighty-fourth meeting of the London Browning Society (June 26th, 1891), Mr. R. G. Moulton, M.A. Camb., read a paper on _Balaustion's Adventure_, which he described as "a beautiful misrepresentation of the original." In this he said: "To those who are willing to decide literary questions upon detailed evidence, I submit that analysis shows the widest divergence between the Admetus of Euripides and the Admetus sung by Balaustion. And, in answer to those who are influenced only by authority, I claim that I have on my side of the question an authority who on this matter must rank higher than even Browning himself; and the name of my authority is Euripides." The following extracts from Mr. Moulton's able and scholarly criticism will explain his chief points. (The whole paper is published in the Transactions of the Browning Society, 1890-1.) Mr. Moulton says: "My position is that Browning, in common with the greater part of modern readers, has entirely misread and misrepresented Euripides' play of _Alcestis_. If any one wishes to pronounce "Balaustion's Adventure" a more beautiful poem than the Greek original, I have no wish to gainsay his estimate; but I maintain, nevertheless, that the one gives a distorted view of the other. The English poem is no mere translation of the Greek, but an interpretation with comments freely interpolated. And the poet having caught a wrong impression as to one of the main elements of the Greek story, has unconsciously let this impression colour his interpretations of words and sentences, and has used his right of commenting to present his mistaken conception with all the poetic force of a great master, until I fear that the Euripidean setting of the story is for English readers almost hopelessly lost. The point at issue is the character of Admetus. Taken in the rough, the general situation has been understood by modern readers thus: A husband having obtained from Fate the right to die by substitute, when no other substitute was forthcoming his wife Alcestis came forward, and by dying saved Admetus. And the first thought of every honest heart has been, "Oh, the selfishness of that husband to accept the sacrifice!" But my contention is, that if Euripides' play be examined with open and unbiassed mind, it will be found that not only Admetus is not selfish, but, on the contrary, he is as eminent for unselfishness in his sphere of life as Alcestis proves in her own. If this be so, the modern readers, with Browning at their head, have been introducing into the play a disturbing element that has no place there. And they have further, I submit, missed another conception--to my thinking a much more worthy conception--which really does underlie and unify the whole play. If Admetus is in fact selfish, how comes it that no personage in the whole play catches this idea?--no one, that is, except Pheres, whose words go for nothing, since he never discovers this selfishness of Admetus until he is impelled to fasten on another the accusation which has been hurled at himself. Except Pheres, all regard Admetus as the sublime type of generosity. Apollo, as representing the gods, uses the unexpected word "holy" to describe the demeanour with which his human protector cherished him during the trouble that drove him to earth in human shape. The Chorus, who, it is well known, represent in a Greek play public opinion, and are a channel by which the author insinuates the lesson of the story, cannot restrain their admiration at one point of the action, and devote an ode to the lofty character of their king. And Hercules, so grandly represented by Browning himself as the unselfish toiler for others, feels at one moment that he has been outdone in generosity by Admetus. There can be no question, then, what Euripides thought about the character of Admetus. And will the objector seriously contend that Euripides has, without intending it, presented a character which must in fact be pronounced selfish? The suggestion that the poet who created Alcestis did not know selfishness when he saw it, seems to me an improbability far greater than the improbability that Browning and the English readers should go wrong. Browning's suggestion of Pheres as Admetus "push'd to completion" seems to me grossly unfair: it ignores all Admetus' connection with Apollo and Hercules, and all his world-wide fame for hospitality. There is nothing in the legend or in the play to suggest that Pheres is anything more than an ordinary Greek: certainly the gods never came down from heaven to wonder at Pheres, nor did Hercules ever recognise him as generous beyond himself. In no view can the scene be other than a painful one. But it is intelligible only when we see in it, not the son rebuking his father, but the head of the State pouring out indignation on the officer whose self-preserving instinct has shirked at once a duty and an honourable opportunity to sacrifice, and thereby lost a life more valuable than his own. In this light the situation before us wears a different aspect. It is no case of a wife dying for a husband, but it is a subject dying to save the head of the State. And nothing can be clearer than that such a sacrifice is _taken for granted_ by the personages who appear before us in Euripides' play. For I must warn the reader of _Balaustion_ that there is not the shadow of a shade of foundation in the original for the scornful words of the English poet telling how the idea of a substitute for their king nowhere appears unnatural to the personages of the play; the sole surprise they express is that the substitute should be the youthful Alcestis and not the aged parents. The situation may fairly be paralleled in this respect with the crisis that arises in Sir Walter Scott's _Fair Maid of Perth_, when the seven sons of Torquil go successively to certain death to shield their chief; and, while they cover themselves with glory, no one accuses Hector of selfishness for allowing the sacrifice: the sentiment of clan institutions makes it a matter of course. The hospitality of Admetus is the foundation of the story; for it is this which has led Apollo (as he tells us in the prologue) to wring out of Fate the sparing to earth of the generous king on condition of a substitute being found."

The stone quarries of ancient Syracuse are now called Latomia, the largest and most picturesque of which is named Latomia de' Cappuccini. It is a vast pit, from eighty to a hundred feet in depth, and is several acres in extent. Murray, describing these vast quarries, says: "It is certain that they existed before the celebrated siege by the Athenians, 415 B.C.; and that some one of them was then deep enough to serve for a prison, and extensive enough to hold the unhappy seven thousand, the relics of the great Athenian host who were captured at the Asinarus. There is every probability that that of the Capuchins is the one described by Thucydides, who gives a touching picture of the misery the Athenians were made to endure from close confinement, hunger, thirst, filth, exposure and disease. Certain holes in the angles of the rocks are still pointed out by tradition as the spots where some of the Athenians were chained. The greater part of them perished here, but Plutarch tells us that some among them who could recite the verses of Euripides were liberated from captivity." Lord Byron's lines in _Childe Harold_ may be quoted in this connection--

"When Athens' armies fell at Syracuse,
And fettered thousands bore the yoke of war,
Redemption rose up in the Attic Muse--
Her voice the only ransom from afar.
See! as they chaunt the tragic hymn, the car
Of the o'ermastered victor stops; the reins
Fall from his hands; his idle scimitar
Starts from his belt: he rends his captive's chains,
And bids him thank the bard for freedom and his strains."

"Some there were who owed their preservation to Euripides. Of all the Grecians, his was the muse whom the Sicilians were most in love with. From every stranger that landed in their island, they gleaned every small specimen or portion of his works, and communicated it with pleasure to each other. It is said that on this occasion a number of Athenians, upon their return home, went to Euripides, and thanked him in the most respectful manner for their obligations to his pen; some having been enfranchised for teaching their masters what they remembered of his poems, and others having got refreshments, when they were wandering about after the battle, for singing a few of his verses. Nor is this to be wondered at, since they tell us that when a ship from Caunus, which happened to be pursued by pirates, was going to take shelter in one of their ports, the Sicilians at first refused to admit her; but upon asking the crew whether they knew any of the verses of Euripides, and being answered in the affirmative, they received both them and their vessel." (Plutarch's life of Nicias.)

NOTES. [The numbers refer to the pages in the complete edition of the Works.]--P. 5, _Kameiros_, a Dorian town on the west coast of Rhodes, and the principal town before the foundation of Rhodes itself; _The League_, the Spartan league against the domination of Athens. p. 6, _Knidos_, city famous for the statue of Venus by Praxiteles, in one of her temples there; _Ilissian_, Trojan; _gate of Diomedes_, the Diomæan gate, leading to a grove and gymnasium; _Hippadai_, the gate of Hippadas, leading to the suburb of Cerameicus; _Lakonia_ or _Laconica_ or _Lacedæmon_: Sparta was the only town of importance--in this connection it means Sparta; _Choës_ (the Pitchers) an Athenian festival of Dionysus or Bacchus; _Chutroi_, a Bacchic festival at Athens--the feast of pots; _Agora_, the Athenian market and chief public place; _Dikasteria_, tribunals; _Pnux_ == the Pnyx, the place of public assembly for the people of Athens; _Keramikos_, two suburban places at Athens were thus called: the one a market and public walk, the other a cemetery; _Salamis_, an island on the west coast of Attica, memorable for the battle in which the Greeks defeated the fleet of Xerxes, 480 B.C.; _Psuttalia_, a small island near Salamis; _Marathon_: the plain of Marathon was twenty-two miles from Athens, and the famous battle there was fought 490 B.C.; _Dionusiac Theatre_, the great theatre of Athens on the Acropolis. p. 7, _Kaunos_, one of the chief cities of Caria, which was founded by the Cretans. p. 8, _Ortugia_, the island close to Syracuse, and practically part of the city. p. 9, _Aischulos_ == the song was from Æschylus, the great tragic poet of Greece; _pint of corn_: the wretched captives in the quarries were kept alive by half the allowance of food given to slaves. Thucydides says (vii. 87): "They were tormented with hunger and thirst; for during eight months they gave each of them daily only a _cotyle_ (the _cotyle_ was a little more than half an English pint) of water, and two of corn." p. 10, _salpinx_, a trumpet. p. 11, _rhesis_, a proverb; _monostich_, a poem of a single verse; _region of the steed_: horses were supposed by the Greeks to have originated in their land. p. 12, _Euoi_, _Oöp_, _Babai_, exclamations of wonder. p. 13, _Rosy Isle_, Rhodes, the Greek word meaning rose. p. 16, _Anthesterion month_ == February-March; _Peiraieus_, the chief harbour of Athens, about five miles distant; _Agathon_, a tragic poet of Athens, born 448 B.C.--a friend of Euripides and Plato; _Iophon_, son of Sophocles: he was a distinguished tragic poet; _Kephisophon_, a contemporary poet; _Baccheion_, the Dionysiac temple. p. 17, _The mask of the actor_: it should be remembered that the Greek actors were all masked. p. 20, _Phoibos_, the _bright_ or _pure_--a name of Apollo; _Asklepios_ == Æsculapius, the god of medicine; _Moirai_, the Fates--Clotho, Lachesis, and Atropos, the divinities of human life. p. 25, _Eurustheus_, king of Mycenæ, who imposed the "twelve labours" on Hercules. p. 26, _Pelias' child_: Alcestis was the daughter of Pelias, son of Poseidon and of Tyro; _Paian_, a surname of Apollo, derived from _pæan_, a hymn which was sung in his honour. p. 27, _Lukia_ == Lycia, a country of Asia Minor; _Ammon_, a god of Libya and Upper Egypt: Jupiter Ammon with the horns of a ram. p. 32, _pharos_, a veil or cloak covering the eyes. p. 35, _Iolkos_, a town in Thessaly. p. 41, _Koré_, the Maiden, a name by which Proserpine is often called. p. 47, _Acherontian lake_: Acheron was one of the rivers of hell; _Karneian month_ == August-September, when the Carnean festival was celebrated in honour of Apollo Carneus, protector of flocks. p. 48, _Kokutos' stream_, a river in the lower world: the river Cocytus is in Epirus. p. 51, _Thrakian Diomedes_, a king of Thrace who fed his horses on human flesh: it was one of the labours of Hercules to destroy him; _Bistones_ == Thracians. p. 53, _Ares_, Greek name of Mars; _Lukaon_, a mythical king of Arcadia; _Kuknos_, son of Mars and Pelopia == Cycnus. p. 60, _Lyric Puthian_: musical contentions in honour of Apollo at Delphi were called the Pythian modes: so Apollo, worshipped with music, was called the lyric Pythian, in commemoration of his victory over the Python, the great serpent; _Othrus' dell_, in the mountains of Othrys, in Thessaly, the residence of the Centaurs. p. 61, _Boibian lake_, in Thessaly, near Mount Ossa; _Molossoi_, a people of Epirus, in Greece. p. 68, _Ludian_ == Lydian; _Phrugian_ == Phrygian. p. 73, _Akastos_, the son of Peleus, king of Iolchis; he made war against Admetus. p. 74, _Hermes the infernal_: he was the son of Zeus and Maia, and was herald of the gods and guide of the dead in Hades--hence the epithet "infernal." p. 78, _Turranos_, Tyrant or King. p. 79, _Ai, ai! Pheu! pheu! e, papai_ == woe! alas, alas! oh, strange! p. 81, _The Helper_ == Hercules. p. 83, _Kupris_, Venus, the goddess of Cyprus. p. 87, "_Daughter of Elektruon, Tiruns' child_": Electryon was the father of Alcmene, Tiryns was an ancient town in Argolis. p. 88, _Larissa_, a city in Thessaly. p. 94, _Thrakian tablets_, the name of Orpheus is associated with Thrace: the Orphic literature contained treatises on medicine, plants, etc., originally written on tablets, and preserved in the temple; _Orphic voice_, of Orpheus, which charmed all Nature; _Phoibos_, Apollo was the god of medicine, and taught the art to Æsculapius; _Asklepiadai_, who received from Phoibos or Apollo the medical remedies. p. 95, _Chaluboi_, a people of Asia Minor, near Pontus. p. 96, _Alkmené_ was the daughter of Electryon: she was the mother of Hercules, conceived by Jupiter. p. 99, _Pheraioi_, the belongings of Admetus as a native of Pheræ. p. 110, "_The Human with his droppings of warm tears_," a quotation from a poem by Mrs. Browning, entitled _Wine of Cyprus_. p. 111, _Mainad_, a name of the priestesses of Bacchus. p. 119, "_Straying among the flowers in Sicily_": Proserpine, daughter of Ceres, one day gathering flowers in the meadows of Enna, was carried away by Pluto into the infernal regions, of which she became queen. p. 121, "_a great Kaunian painter_": Protogenes, a native of Caunus in Caria, a city subject to the Rhodians, flourished 332-300 B.C., and was one of the most celebrated of Greek painters. "The story of his friendly rivalry with Apelles, who was the first to recognise his genius, is familiar to all."--_Browning Notes and Queries_ (Pt. vii. 25): the description of the picture refers to Sir Frederick Leighton's noble work on this subject. p. 122, _Poikilé_, the celebrated portico at Athens, which received its name from the variety of the paintings which it contained. It was adorned with pictures of the gods and of public benefactors.

=Balkis= ("Solomon and Balkis," _Jocoseria_ 1883). The Queen of Sheba who came to visit Solomon. See SOLOMON AND BALKIS.

=Bean Feast, The= (_Asolando_). Pope Sixtus the Fifth (Felice Peretti) was pope from 1585 to 1590. He was born in 1521, and certainly in humble circumstances, but there seems no proof that he was the son of a swineherd, as described in the poem (see _Encyc. Brit._, vol. xxii, p. 104). He was a great preacher, and one of the most vigorous and able of the popes that ever filled the papal chair. Within two years of his election he issued seventy-two bulls for the reform of the religious orders alone. When anything required to be done, he did it himself, and was evidently of the same opinion as Mr. Spurgeon, who holds that a committee should never consist of more than one person. He reformed the condition of the papal finances, and expended large sums in public works; he completed the dome of St. Peter's, and erected four Egyptian obelisks in Rome. Ever anxious to reform abuses, he made it his business to examine into the condition of the people and see with his own eyes their mode of life. Mr. Browning's poem relates how, going about the city in disguise, he one day turned into a tumbledown house where a man and wife sat at supper with their children. He inquired if they knew of any wrongs which wanted righting; bade them not stop eating, but speak freely of their grievances, if any. He bade them have no fear when he threw his hood back and let them see it was the Pope. The poor people were filled with a joyful wonder, the more so as the Pope begged a plate of their tempting beans. He sat down on the doorstep, and having eaten, thanked God that he had appetite and digestion.

=Bean-Stripe, A: also Apple Eating.= (_Ferishtah's Fancies_, No. 12.) One of Ferishtah's scholars demanded to know if on the whole Life were a good or an evil thing. He is asked if beans are taken from a bushelful, what colour predominates? Make the beans typical of our days. What is Life's true colour,--black or white? The scholar agrees with Sakya Muni, the Indian sage who declared that Life, past, present and future, was black only--existence simply a curse. Memory is a plague, evil's shadow is cast over present pleasure. Ferishtah strews beans, blackish and whitish, figuring man's sum of moments good and bad; in companionship the black grow less black and the white less white: both are modified--grey prevails. So joys are embittered by sorrows gone before and sobered by a sense of sorrow that may come; thus deepest in black means white most imminent. Pain's shade enhances the shine of pleasure, the blacks and whites of a lifetime whirl into a white. But to the objector the world is so black, no speck of white will unblacken it. Ferishtah bids his pupil contemplate the insect on a palm frond: what knows he of the uses of a palm tree? It has other uses than such as strike the aphis. It may be so with us: our place in the world may, in the eye of God, be no greater than is to us the inch of green which is cradle, pasture and grave of the palm insect. The aphis feeds quite unconcerned, even if lightning sear the moss beneath his home. The philosopher sees a world of woe all round him; his own life is white, his fellows' black. God's care be God's: for his own part the sorrows of his kind serve to sober with shade his own shining life. There is no sort of black which white has not power to disintensify. His philosophy, he admits, may be wrecked to-morrow, but he speaks from past experience. He cannot live the life of his fellow, yet he knows of those who are not so blessed as to live in Persia, yet it would not be wise to say: "No sun, no grapes,--then no subsistence!" There are lands where snow falls; he will not trouble about cold till it comes to Persia. But the Indian sage, the Buddha, concluded that the best thing of Life was that it led to Death! The dervish replied that though Sakya Muni said so he did not believe it, as he lived out his seventy years and liked his dinner to the last--he lied, in fact. The pupil demands truth at any cost, and is told to take this: God is all-good, all-wise, all-powerful. What is man? Not God, yet he is a creature, with a creature's qualities. You cannot make these two conceptions agree: God, that only can, does not; man, that would, cannot. A carpet web may illustrate the meaning: the sage has asked the weaver how it is that apart the fiery-coloured silk, and the other of watery dimness, when combined, produce a medium profitable to the sight. The artificer replies that the medium was what he aimed at. So the quality of man blended with the quality of God assists the human sight to understand Life's mystery. Man can only know _of_ and think _about_, he cannot understand, earth's least atom. He cannot know fire thoroughly, still less the mystery of gravitation. But, it is objected, force has not mind; man does not thank gravitation when an apple drops, nor summer for the apple: why thank God for teeth to bite it? Forces are the slaves of supreme power. The sense that we owe a debt to somebody behind these forces assures us there is somebody to take it. We eat an apple without thanking it. We thank Him but for whose work orchards might grow gall-nuts.

Ferishtah in the Lyric asks no praise for his work on behalf of mankind. He who works for the world's approval, or even for its love, must not be surprised if both are withheld. He has sought, found and done his duty. For the rest he looks beyond.

=Beatrice Signorini= (_Asolando_, 1889) was a noble Roman lady who married Francesco Romanelli, a painter, a native of Viterbo, in the time of Pope Urban VIII. He was a favourite of the Barberini family. Soon after his marriage he became attached to Artemisia Gentileschi, a celebrated lady painter. One day he proposed to her that she should paint him a picture filled with fruit, except a space in the centre for her own portrait, which he would himself insert. He kept this work amongst his treasures; and one day, wishing to make his wife jealous, he unveiled it in her presence, dilating on the graces and beauty of the original. His wife was a very beautiful woman also, and was not inclined to tolerate this rivalry for her husband's affections; she therefore destroyed the face of the fair artist in the picture, so that it could not be recognised. Her husband was not angry at this, but admired and loved his wife all the more for this outburst of natural wrath, and soon ceased to think further of his quondam love. Artemisia Gentileschi, daughter of Orazio Gentileschi, lived 1590-1642. She was a pupil of Guido, and acquired great fame as a portrait painter. She was a beautiful woman; her portrait painted by herself is in Hampton Court. Her greatest work is the picture of Judith and Holofernes, in the Pitti Palace, Florence. She came to England with her father in the reign of Charles I., and painted for him David with the head of Goliath. She soon returned to Italy, and passed the remainder of her life at Naples. Baldinucci tells the story of Romanelli.

=Beer.= See NATIONALITY IN DRINKS (_Dramatic Lyrics_).

="Before and After."= (_Men and Women_, 1855; _Lyrics_, 1863; _Dramatic Lyrics_, 1868.) Two men have quarrelled, and a duel is proposed. It is urged that the injured man should forgive his enemy, but a philosophical adviser considers that Christianity is hardly equal to this particular matter: "Things have gone too far." Forgiveness is all very well in good books, but these men are sunk in a slough where they must not be left to "stick and stink." As the offender never pardons, and the offended in this case will not, there is nothing for it but to fight. Besides, "while God's champion lives" (the just man), "wrong shall be resisted" and the wrong-doer punished. These two men have quarrelled, and it is impossible to say which of them is the injured and which the injurer. Wrong has been done--this much is certain; beyond that human judgment is at fault, and the Divine must be invoked. Let them fight it out, then! Of course the poet is speaking dramatically, and not laying down the principle that where we see evil done, especially in our own concerns, we are bound to avenge the wrong. This sentiment is that of the philosophical observer of the feud, though there are phrases here and there quite in accord with Mr. Browning's axioms: "Better sin the whole sin"; "Go, live his life out"; "Life will try his nerves." [This teaching is much in the way of that in the concluding verses of _The Statue and the Bust_ (_q.v._)] For the culprit there, the speaker says, it is better he should add daring courage to face the consequences of his crime, than by running away from them be coward as well as criminal. He may come off victor, but his future life, his garden of pleasure, will have a warder, a leopard-dog thing (his sin), ever at his side. This leering presence, this "sly, mute thing," crouching under every "rose wall" and "grape-tree," will exact the penalty of past sin, and mayhap sting the sinner to repentance. "So much for the culprit." The injured, "the martyred man," has borne so much, he can at least bear another stroke--"give his blood and get his heaven." If death end it, well for him--"he forgives"; if he be victor he has punished sin as God's minister of justice. In "After," what is not said is more powerful than any words which could have filled the intervening space between these two poems. The imagination here is all-sufficient. The chill presence of death has altered the aspect of everything. The rush of thought, the casuistry, the intensity of the preceding poem, is all hushed and silent here. Death makes things so real in its presence, masks drop off from souls' faces, and truth can make her voice heard above the contentions of sophistry. The victor speaks--he has no desire to masquerade here as God's avenging angel; he recognises that even his foe has the rights of a man, and as the spirit of the dead man wanders, absorbed in his new life, he heeds not his wrongs nor the vengeance of his slayer; the great realities of the other world make those of this world trivial, and the victor estimates at its true value the worthlessness of his conquest. If they could be as they were of old! So forgiveness would have been better and Christ's command is vindicated--"I say unto you that ye resist not evil." There are some victories which are always the worst of defeats.

="Bells and Pomegranates."= Under this title Mr. Browning published a cheap edition, in serial form, of his poems in 1841. The following works appeared in this manner:--_Pippa Passes_; _King Victor and King Charles_; _Dramatic Lyrics_; _The Return of the Druses_; _A Blot in the 'Scutcheon_; _Colombe's Birthday_; _Dramatic Romances and Lyrics_; _Luria_; and _A Soul's Tragedy_. ("A golden bell and a pomegranate, a golden bell and a pomegranate, upon the hem of the robe round about."--EXOD. xxviii. 34, 35.) "The reason supposed in the Targum for the directions given to the priest is that the priest's approach should be _cautious_ to the innermost 'Holy of Holies,' or Sanctuary of the Tabernacle. The sound of the small bells upon his robe was intended to announce his approach before his actual appearance." Philo says the bells were to denote the harmony of the universe. St. Jerome says they also indicated that every movement of the priest should be for edification. Mr. Browning, however, intimated that he had no such symbolical intention in the choice of his title. In the preface to the last number of the series, he said: "Here ends my first series of 'Bells and Pomegranates,' and I take the opportunity of explaining, in reply to inquiries, that I only meant by that title to indicate an endeavour towards something like an alternation or mixture of music with discoursing, sound with sense, poetry with thought; which looks too ambitious, thus expressed, so the symbol was preferred. It is little to the purpose that such is actually one of the most familiar of the many Rabbinical (and Patristic) acceptations of the phrase; because I confess that, letting authority alone, I supposed the bare words, in such juxtaposition, would sufficiently convey the desired meaning. 'Faith and good works' is another fancy, for instance, and, perhaps, no easier to arrive at; yet Giotto placed a pomegranate fruit in the hand of Dante, and Raffaelo crowned his theology (in the _Camera della Segnatura_) with blossoms of the same; as if the Bellari and Vasari would be sure to come after, and explain that it was merely '_simbolo delle buone opere--il qual Pomogranato, fu però usato nelle vesti del Pontefice appresso gli Ebrei_.'--R. B."

="Ben Karshook's Wisdom."= Mr. Sharp says, in his _Life of Browning_, "In the late spring (April 27th, 1854), also, he wrote the short dactylic lyric, "Ben Karshook's Wisdom." This little poem was given to a friend for appearance in one of the then popular _keepsakes_--literally given, for Browning never contributed to magazines. As "Ben Karshook's Wisdom," though it has been reprinted in several quarters, will not be found in any volume of Browning's works, and was omitted from _Men and Women_ by accident, and from further collections by forgetfulness, it may be fitly quoted here. _Karshook_, it may be added, is the Hebraic word for a thistle.

"'Would a man 'scape the rod?'--
Rabbi Ben Karshook saith,
'See that he turns to God,
The day before his death.'

'Ay, could a man inquire,
When it shall come!' I say,
The Rabbi's eye shoots fire--
'Then let him turn to-day!'

Quoth a young Sadducee,--
'Reader of many rolls,
Is it so certain we
Have, as they tell us, souls?'--

'Son, there is no reply!'
The Rabbi bit his beard;
'Certain, a soul have _I_,--
We may have none,' he sneered.

Thus Karshook, the Hiram's-Hammer,
The Right-hand Temple column,
Taught babes in grace their grammar,
And struck the simple, solemn."
(ROME, _April 27th, 1854_.)

The reference in the last verse is to 1 Kings vii. 13-22. Hiram was a Phoenician king, and a skilful builder of temples. The Temple columns referred to were called Jachin and Boaz, and were made of brass and set up at the entrance; Boaz (_strength_) on the left hand, and Jachin (_stability_) on the right. The Freemasons have adopted the names of these pillars in their ceremonial and symbolism.

=Bernard de Mandeville= [THE MAN] (1670-1733) was a native of Rotterdam, and the son of a physician who practised in that city. He studied medicine at Leyden, and came to England "to learn the language." He did this with such effect that it was doubted if he were a foreigner. He practised medicine in London, and is known to fame by his celebrated book _The Fable of the Bees_, a miscellaneous work which includes "_The Grumbling Hive, or Knaves Turned Honest_; _An Inquiry into the Origin of Moral Virtue_; _An Essay on Charity Schools_; and _A Search into the Origin of Society_." When, in 1705, the country was agitated by the question as to the continuance of Marlborough's war with France, Mandeville published his _Grumbling Hive_. All sorts of charges were being made against public officials; every form of corruption and dishonesty was freely charged on these persons, and it was in the midst of this agitation that Mandeville humorously maintained that "private vices are public benefits,"--that self-seeking, luxury, ambition, and greed are all necessary to the greatness and prosperity of a nation. "Fools only strive to make a great and honest hive." "The bees of his fable," says Professor Minto, "grumbled, as many Englishmen were disposed to do,--cursed politicians, armies, fleets, whenever there came a reverse, and cried, 'Had we but honesty!'" Jove, at last, in a passion, swore that he would "rid the canting hive of fraud," and filled the hearts of the bees with honesty and all the virtues, strict justice, frugal living, contentment with little, acquiescence in the insults of enemies. Straightway the flourishing hive declined, till in time only a small remnant was left; this took refuge in a hollow tree, "blest with content and honesty," but "destitute of arts and manufactures." "He gives the name of virtue to every performance by which man, contrary to the impulse of nature, should endeavour the benefit of others, or the conquest of his own passions, out of a rational ambition of being good"; while everything which, without regard to the public, man should commit to gratify any of his appetites, is vice." He finds self-love (a vice by the definition) masquerading in many virtuous disguises, lying at the root of asceticism, heroism, public spirit, decorous conduct,--at the root, in short, of all the actions that pass current as virtuous." He taught that "the moral virtues are the political offspring which flattery begot upon pride." Politicians and moralists have worked upon man to make him believe he is a sublime creature, and that self-indulgence makes him more akin to the brutes. In 1723 Mandeville applied his analysis of virtue in respect to the then fashionable institution of charity schools, and a great outcry was raised against his doctrines. His book was presented to the justices, the grand jury of Middlesex, and a copy was ordered to be burned by the common hangman. It is probable that Mandeville was not serious in all he wrote; much of his writings must be considered merely as a political _jeu d'esprit_. His was an age of speculation upon ethical questions, and a humorous foreigner could not but be moved to satirise English methods, which are frequently peculiarly open to this kind of attack.

[THE POEM.] (_Parleyings with Certain People of Importance in their Day_: London, 1887.) The sketch of Mandeville's opinion given above will afford a key to the drift of Mr. Browning's poem. His aim is to point out the great truths which, on a careful examination, will be found to underlie much of the old philosopher's paradoxical teaching; not as understood by fools, he says, but by those who let down their sounding line below the turbid surface to the still depths where evil harmoniously combines with good, Mandeville's teaching is worthy of examination. We must take life as we find it, ever remembering that law deals the same with soul and body; life's rule is short, infancy's probation is necessary to bodily development; and we might as well expect a new-born infant to start up strong, as the soul to stand in its full-statured magnificence without the necessary faculty of growth. Law deals with body as with soul. Both, stung to strength through weakness, strive for good through evil. And all the while the process lasts men complain that "no sign, no stirring of God's finger," indicates His preference for either. Never promptly and beyond mistake has God interposed between oppression and its victim. But suppose the Gardener of mankind has a definite purpose in view when he plants evil side by side with good? How do we know that every growth of good is not consequent on evil's neighbourhood? As it is certain that the garden was planted by intelligence, would not the sudden and complete eradication of evil repeal a primal law of the all-understanding Gardener? "But," retorts the objector, "suppose these ill weeds were interspersed by an enemy?" Man's faculty avails not to see the whole sight. When we examine the plan of an estate, we do not ask where is the roof of the house--where the door, the window. We do not seek a thing's solid self in its symbol: looking at Orion on a starry night, who asks to see the man's flesh in the star-points? If it be objected that we have no need of symbols, and that we should be better taught by facts, it is answered that a myth may teach. The rising sun thrills earth to the very heart of things; creation acknowledges its life-giving impulse and murmurs not, but, unquestioning, uses the invigorating beams. Is man alone to wait till he comprehends the sun's self to realise the energy that floods the universe? Prometheus drew the sun's rays into a focus, and made fire do man service. Thus to utilise the sun's influence was better than striving to follow beam and beam upon their way, till we faint in our endeavour to guess their infinitude of action. The teaching of the poem is, that to make the best use of the world as we find it, is wiser than torturing our brains to comprehend mysteries which by their nature and our own weakness are insoluble.

=Bifurcation.= (_Pacchiarotto and other Poems_: London, 1876.) A woman loves a man, but "prefers duty to love"--enters a convent, perhaps, or adopts some life for reasons which she considers imperative, and so cannot marry. Rejecting love, she thinks she rejects the tempter's bribe when the paths before her diverge. It is a sacrifice, she feels, and a great one; but her heart tells her, probably because it has been suggested by those whose influence over her was very great, that heaven will repair the wrongs of earth. She chooses the darkling half of life, and waits her reward in the world "where light and darkness fuse." The man loved the woman. Love was a hard path for him, but duty was a pleasant road. When the ways parted, and his love forsook him to abide by duty, she told him their roads would converge again at the end, and bade him be constant to his path, as she would be to hers, that they might meet once more. But, when the guiding star is gone, man's footsteps are apt to stray, and every stumbling-block brought him to confusion. And after his falls and flint-piercings he would rise and cry "All's well!" and struggle on, since he must be content with one of the halves that make the whole. He would have the story of each inscribed on their tomb, and he demands to know which tomb holds sinner and which holds saint! If love be all--if earth and its best be our highest aim--then the woman was the sinner for not marrying her lover, and settling down in a suburban villa, and surrounding herself with children and domestic pleasures. But if the ideal life--if a love infinitely higher and purer than any earthly affection--be taken into account; if in her soul she had heard the call, "Leave all and follow Me," and she obeyed with breaking heart, in a perfect spirit of self-sacrifice, then was she no sinner, but saint indeed. Surely there are higher paths in life than even the holy one of wedded love. Mr. Browning's own married life was so ideally perfect that he has been led into some exaggeration of its advantages to the mass of mankind.