Title: The Englishman in Italy
Author: Robert Browning [More Titles by Browning]
NOTES:
"The Italian in England." An Italian patriot who has taken part in an unsuccessful revolt against Austrian dominance, reflects upon the incidents of his escape and flight from Italy to the end that if he ever should have a thought beyond the welfare of Italy, he would wish first for the discomfiture of his enemies and then to go and see once more the noble woman who at the risk of her own life helped him to escape. Though there is no exact historical incident upon which this poem is founded, it has a historical background. The Charles referred to (lines 8, 11, 20, 116, 125) is Charles Albert, Prince of Carignano, of the younger branch of the house of Savoy. His having played with the patriot in his youth, as the poem says, is quite possible, for Charles was brought up as a simple citizen in a public school, and one of his chief friends was Alberta Nota, a writer of liberal principles, whom he made his secretary. As indicated in the poem, Charles at first declared himself in sympathy, though in a somewhat lukewarm manner, with the rising led by Santa Rosa against Austrian domination in 1823, and upon the abdication of Victor Emanuel he became regent of Turin. But when the king Charles Felix issued a denunciation against the new government, Charles Albert succumbed to the king's threats and left his friends in the lurch. Later the Austrians marched into the country, Santa Rosa was forced to retreat from Turin, and, with his friends, he who might well have been the very patriot of the poem was obliged to fly from Italy.
ROBERT BROWNING - CAMBERWELL, 7 MAGGIO 1812 - VENEZIA, 12 DICEMBRE 1889. POETA E DRAMMATURGO BRITANNICO. VICTORIAN POET ROBERT BROWNING SOJOURNED IN THE AREA AND MENTIONS THE COUNTRYSIDE OF " PIANO " AND OTHER LOCALITIES OF THE SURRENTINE PENINSULA IN THE POEM " THE ENGLISHMAN IN ITALY "
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Author: Robert Browning [More Titles by Browning]
Piano di Sorrento
Fortu, Fortu, my beloved one,
Sit here by my side,
On my knees put up both little feet!
I was sure, if I tried,
I could make you laugh spite of Scirocco.
Now, open your eyes,
Let me keep you amused till he vanish
In black from the skies,
With telling my memories over
As you tell your beads; 10
All the Plain saw me gather, I garland
--The flowers or the weeds.Time for rain! for your long hot dry Autumn
Had net-worked with brown
The white skin of each grape on the bunches,
Marked like a quail's crown,
Those creatures you make such account of,
Whose heads--speckled whlte
Over brown like a great spider's back,
As I told you last night-- 20
Your mother bites off for her supper.
Red-ripe as could be,
Pomegranates were chapping and splitting
In halves on the tree:
And betwixt the loose walls of great flintstone,
Or in the thick dust
On the path, or straight out of the rockside,
Wherever could thrust
Some burnt sprig of bold hardy rock-flower
Its yellow face up, 30
For the prize were great butterflies fighting,
Some five for one cup.
So, I guessed, ere I got up this morning,
What change was in store,
By the quick rustle-down of the quail-nets
Which woke me before
I could open my shutter, made fast
With a bough and a stone,
And look thro' the twisted dead vine-twigs,
Sole lattice that's known. 40
Quick and sharp rang the rings down the net-poles,
While, busy beneath,
Your priest and his brother tugged at them,
The rain in their teeth.
And out upon all the flat house-roofs
Where split figs lay drying,
The girls took the frails under cover:
Nor use seemed in trying
To get out the boats and go fishing,
For, under the cliff, 50
Fierce the black water frothed o'er the blind-rock.
No seeing our skiff
Arrive about noon from Amalfi,
--Our fisher arrive,
And pitch down his basket before us,
All trembling alive
With pink and grey jellies, your sea-fruit;
You touch the strange lumps,
And mouths gape there, eyes open, all manner
Of horns and of humps, 60
Which only the fisher looks grave at,
While round him like imps
Cling screaming the children as naked
And brown as his shrimps;
Himself too as bare to the middle
--You see round his neck
The string and its brass coin suspended,
That saves him from wreck.
But to-day not a boat reached Salerno,
So back, to a man, 70
Came our friends, with whose help in the vineyards
Grape-harvest began.
In the vat, halfway up in our houseside,
Like blood the juice spins,
While your brother all bare-legged is dancing
Till breathless he grins
Dead-beaten in effort on effort
To keep the grapes under,
Since still when he seems all but master,
In pours the fresh plunder 80
From girls who keep coming and going
With basket on shoulder,
And eyes shut against the rain's driving;
Your girls that are older,--
For under the hedges of aloe,
And where, on its bed
Of the orchard's black mould, the love-apple
Lies pulpy and red,
All the young ones are kneeling and filling
Their laps with the snails 90
Tempted out by this first rainy weather,--
Your best of regales,
As to-night will be proved to my sorrow,
When, supping in state,
We shall feast our grape-gleaners (two dozen,
Three over one plate)
With lasagne so tempting to swallow,
In slippery ropes,
And gourds fried in great purple slices,
That colour of popes. 100
Meantime, see the grape bunch they've brought you:
The rain-water slips
O'er the heavy blue bloom on each globe
Which the wasp to your lips
Still follows with fretful persistence:
Nay, taste, while awake,
This half of a curd-white smooth cheese-ball
That peels, flake by flake,
Like an onion, each smoother and whiter;
Next, sip this weak wine 110
>From the thin green glass flask, with its stopper,
A leaf of the vine;
And end with the prickly-pear's red flesh
That leaves thro' its juice
The stony black seeds on your pearl-teeth.
Scirocco is loose!
Hark, the quick, whistling pelt of the olives
Which, thick in one's track,
Tempt the stranger to pick up and bite them,
Tho' not yet half black! 120
How the old twisted olive trunks shudder,
The medlars let fall
Their hard fruit, and the brittle great fig-trees
Snap off, figs and all,
For here comes the whole of the tempest!
No refuge, but creep
Back again to my side and my shoulder,
And listen or sleep.
O how will your country show next week,
When all the vine-boughs 130
Have been stripped of their foliage to pasture
The mules and the cows?
Last eve, I rode over the mountains,
Your brother, my guide,
Soon left me, to feast on the myrtles
That offered, each side,
Their fruit-balls, black, glossy and luscious,--
Or strip from the sorbs
A treasure, or, rosy and wondrous,
Those hairy gold orbs! 140
But my mule picked his sure sober path out,
Just stopping to neigh
When he recognized down in the valley
His mates on their way
With the faggots and barrels of water;
And soon we emerged
>From the plain, where the woods could scarce follow;
And still as we urged
Our way, the woods wondered, and left us,
As up still we trudged 150
Though the wild path grew wilder each instant,
And place was e'en grudged
'Mid the rock-chasms and piles of loose stones
Like the loose broken teeth
Of some monster which climbed there to die
From the ocean beneath--
Place was grudged to the silver-grey fume-weed
That clung to the path,
And dark rosemary ever a-dying
That, 'spite the wind's wrath, 160
So loves the salt rock's face to seaward,
And lentisks as staunch
To the stone where they root and bear berries,
And . . . what shows a branch
Coral-coloured, transparent, with circlets
Of pale seagreen leaves;
Over all trod my mule with the caution
Of gleaners o'er sheaves,
Still, foot after foot like a lad
Till, round after round, 170
He climbed to the top of Calvano,
And God's own profound
Was above me, and round me the mountains,
And under, the sea,
And within me my heart to bear witness
What was and shall be.Oh, heaven and the terrible crystal!
No rampart excludes
Your eye from the life to be lived
In the blue solitudes. 180
Oh, those mountains, their infinite movement!
Still moving with you;
For, ever some new head and breast of them
Thrusts into view
To observe the intruder; you see it
If quickly you turn
And, before they escape you surprise them.
They grudge you should learn
How the soft plains they look on, lean over
And love (they pretend) 190
--Cower beneath them, the flat sea-pine crouches,
The wild fruit-trees bend,
E'en the myrtle-leaves curl, shrink and shut:
All is silent and grave:
'Tis a sensual and timorous beauty,
How fair! but a slave.
So, I turned to the sea; and there slumbered
As greenly as ever
Those isles of the siren, your Galli;
No ages can sever 200
The Three, nor enable their sister
To join them,--halfway
On the voyage, she looked at Ulysses--
No farther to-day,
Tho' the small one, just launched in the wave,
Watches breast-high and steady
>From under the rock, her bold sister
Swum halfway already.
Fort, shall we sail there together
And see from the sides 210
Quite new rocks show their faces, new haunts
Where the siren abides?
Shall we sail round and round them, close over
The rocks, tho' unseen,
That ruffle the grey glassy water
To glorious green?
Then scramble from splinter to splinter,
Reach land and explore,
On the largest, the strange square black turret
With never a door, 220
Just a loop to admit the quick lizards;
Then, stand there and hear
The birds' quiet singing, that tells us
What life is, so clear?
--The secret they sang to Ulysses
When, ages ago,
He heard and he knew this life's secret
I hear and I know. Ah, see! The sun breaks o'er Calvano;
He strikes the great gloom 230
And flutters it o'er the mount's summit
In airy gold fume.
All is over. Look out, see the gipsy,
Our tinker and smith,
Has arrived, set up bellows and forge,
And down-squatted forthwith
To his hammering, under the wall there;
One eye keeps aloof
The urchins that itch to be putting
His jews'-harps to proof, 240
While the other, thro' locks of curled wire,
Is watching how sleek
Shines the hog, come to share in the windfall
--Chew, abbot's own cheek!
All is over. Wake up and come out now,
And down let us go,
And see the fine things got in order
At church for the show
Of the Sacrament, set forth this evening.
To-morrow's the Feast 250
Of the Rosary's Virgin, by no means
Of Virgins the least,
As you'll hear in the off-hand discourse
Which (all nature, no art)
The Dominican brother, these three weeks,
Was getting by heart.
Not a pillar nor post but is dizened
With red and blue papers;
All the roof waves with ribbons, each altar
A-blaze with long tapers; 260
But the great masterpiece is the scaffold
Rigged glorious to hold
All the fiddlers and fifers and drummers
And trumpeters bold,
Not afraid of Bellini nor Auber,
Who, when the priest's hoarse,
Will strike us up something that's brisk
For the feast's second course.
And then will the flaxen-wigged Image
Be carried in pomp 270
Thro' the plain, while in gallant procession
The priests mean to stomp.
All round the glad church lie old bottles
With gunpowder stopped,
Which will be, when the Image re-enters,
Religiously popped;
And at night from the crest of Calvano
Great bonfires will hang,
On the plain will the trumpets join chorus,
And more poppers bang. 280
At all events, come-to the garden
As far as the wall;
See me tap with a hoe on the plaster
Till out there shall fall
A scorpion with wide angry nippers!--"Such trifles!" you say?
Fortu, in my England at home,
Men meet gravely to-day
And debate, if abolishing Corn-laws
Be righteous and wise 290
--If 'twere proper, Scirocco should vanish
In black from the skies!NOTES:
"The Italian in England." An Italian patriot who has taken part in an unsuccessful revolt against Austrian dominance, reflects upon the incidents of his escape and flight from Italy to the end that if he ever should have a thought beyond the welfare of Italy, he would wish first for the discomfiture of his enemies and then to go and see once more the noble woman who at the risk of her own life helped him to escape. Though there is no exact historical incident upon which this poem is founded, it has a historical background. The Charles referred to (lines 8, 11, 20, 116, 125) is Charles Albert, Prince of Carignano, of the younger branch of the house of Savoy. His having played with the patriot in his youth, as the poem says, is quite possible, for Charles was brought up as a simple citizen in a public school, and one of his chief friends was Alberta Nota, a writer of liberal principles, whom he made his secretary. As indicated in the poem, Charles at first declared himself in sympathy, though in a somewhat lukewarm manner, with the rising led by Santa Rosa against Austrian domination in 1823, and upon the abdication of Victor Emanuel he became regent of Turin. But when the king Charles Felix issued a denunciation against the new government, Charles Albert succumbed to the king's threats and left his friends in the lurch. Later the Austrians marched into the country, Santa Rosa was forced to retreat from Turin, and, with his friends, he who might well have been the very patriot of the poem was obliged to fly from Italy.
19. Metternich: the distinguished Austrian diplomatist and determined enemy of Italian independence.
76. Tenebrae: darkness. "The office of matins and lauds, for the three last days in Holy Week. Fifteen lighted candles are placed on a triangular stand, and at the conclusion of each psalm one is put out till a single candle is left at the top of the triangle. The extinction of the other candles is said to figure the growing darkness of the world at the time of the Crucifixion. The last candle (which is not extinguished, but hidden behind the altar for a few moments) represents Christ, over whom Death could not prevail.'' (Dr. Berdoe)
-THE END-
Robert Browning's poem: The Englishman in Italy
________________________________________________Robert Browning's poem: The Englishman in Italy
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